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CHAMBARA: THE ART OF JAPANESE  SWORDPLAY (Jidaigeki wa Shinazu: Chambara Bigakko)


 September 12, 2016
Q&A guests: Director Sadao Nakajima, fight choreographer Mitsuhiko Seike, Toei Tsurugi Association


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Members of the elite Toei Tsurugikai gave a dazzling live performance after the screening, and then struck ferocious poses with Nakajima (center) and Seike (left). These highly trained swordsmen and women are the real stars of Kyoto’s action films, putting the thrills and chills into the fight scenes, and elevating the performances of the top-billed stars.©Mance Thompson

 The term sensei is often wielded too lightly in Japan, a catch-all title meant as a demonstration of respect for one’s elders and/or betters that seems to find its way onto the end of altogether too many names, whether deserved or not.

But sometimes, the title fits perfectly, and Sadao Nakajima — always “Nakajima Sensei” or “Professor Nakajima” — wears it well. A veteran Toei director, having helmed over 60 films in nearly 60 years in the industry, he is a cult figure, a fount of knowledge, a veritable walking encyclopedia of chambara lore. (Speaking of walking, to see the 82-year-old stroll into FCCJ’s screening room is to see the picture of crackling-with-youth energy, and it seems certain that his cane is just for show — perhaps, I imagined, there was a hidden blade inside, just like the shikomi gatana carried by one of his characters).

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                                                                      The professor speaks to a rapt audience.  Photo left ©Koichi Mori; right ©Rob Nava-Moreno

In his new documentary, Chambara: The Art of Japanese Swordplay, the professor proves to be not only an impassioned scholar, but also a most affable screen presence, as he relates milestones in the history of Japan’s homegrown swashbuckler film (chambara being the sound of clashing swords), and trades anecdotes with an array of authorities (swordfight artists, actors, armorers, historians, critics). A must-see for all fans of spectacular swordsmanship, Chambara is also a veritable master class in everything jidaigeki (samurai period) film, providing just the layman’s approach necessary for those of us (ahem, guilty) who have remained willfully ignorant of the medium’s many delights.

As we learn, Japan’s first-ever jidaigeki was screened in Kyoto in February 1908. Directed by the great Shozo Makino, an industry pioneer whose son Masahiro would become Nakajima’s mentor, the one-reel drama featured kabuki actors in the roles of rival samurai. Almost nothing of Makino’s work has survived, but the swashbuckler continued to flourish with the rise of the samurai, ninja and yakuza genres.

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                                                                                                                                     The Toei Tsurugikai in action.   ©Mance Thompson

As he traces the origins and growth of the Kyoto-centric industry, Nakajima treats Chambara viewers to rare footage from a wealth of early and later films, and compares the styles of the major stars of each era, from Matsunosuke Onoe (“Medama Matsu”), Tsumabasaburo Bando (“Bantsuma”), Chiezo Kataoka, Utaemon Ichikawa and Arashi Kanjuro (“Arakan”) to Raizo Ichikawa, Jushiro Konoe, Kinnosuke Nakamura, Shintaro Katsu and Hiroki Matsukata. Naturally, much screen time is also devoted to the enormous impact of Akira Kurosawa and Toshiro Mifune on the genre (not all commentators view it as positive).

At its peak in the late 1950s, there were 100 professional swordfighters working on Kyoto’s sound stages, and jidaigeki would account for over 150 film releases each year. But those days are done. In Ken Ochiai’s elegiac Uzumasa Limelight, which we screened at FCCJ in 2014 (and in which Nakajima has a small role essentially playing himself), we see that the skilled bladesmen of Kyoto are running out of work as the jidaigeki industry dries up. It’s no wonder that the swordsmen and women of the Toei Tsurugikai, an elite team started in 1952 at the Kyoto Toei Studio to develop tate, or chambara techniques using kata swords, now number very few, and must support themselves in a variety of realms, not just on film.

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                                                                        Famed fight choreographer Mitsuhiko Seike.  Photo left ©FCCJ; right, ©Mance Thompson

Not surprisingly, the first questions asked of Nakajima and famed fight choreographer Mitsuhiko Seike after the screening of the documentary concerned the future of jidaigeki. Both men were fairly upbeat. Seike noted, “While it’s true that the number of chambara films are decreasing year by year, we have the Jidaigeki Senmon Channel on cable TV, which specializes in jidaigeki programming. Often they air classics and reruns of old shows. But in the past few years, they’ve started producing their own shows. These are sometimes adaptations of classics or jidaigeki manga, or they’re series based on famous novels. They feel slightly different from what we used to see, but I think that’s one avenue for the future of the genre.”

One journalist commented: “This movie’s full of old men complaining about how good times will never come back. But Chihiro Yamamoto, star of Uzumasa Limelight, is in the film, and tonight we’ve just seen a demonstration in which a woman struck down three men. So is chambara’s future perhaps in women’s hands?”

nakajima-km-46   nakajima-mance-90
                                                                                                                                        Photo left ©Koichi Mori; right ©Mance Thompson

Nakajima nodded and admitted, “It’s true that the films have been male centered. After the war, they became much more conscious of the female audience, but the strange truth is that in Japan’s history, especially during the Muromachi Period, women really shined in real life. Unfortunately, that hasn’t been portrayed in films enough, except in the o-oku stories about the harems in the inner chambers of the shogunate. I started the whole series of o-oku films, and yet the sad fact is that these women are still seen from the perspective of men, and the films tend to be tragedies. Even with a female protagonist, they’re still seen through the prism of the male gaze.”

He continued, “But we’ve seen a lot more women being interested in history [the so-called “female history buff” or rekijo, trend that many have seen as empowering for young women], and there are many young women who are drawn to the Japanese sword … and the chambara culture in general. So I think that’s encouraging.”

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                                                                                            ©Mance Thompson

To a suggestion from the audience that Toei should consider launching a “jidaigeki renaissance,” and hire young directors to reinvigorate the genre, Nakajima responded, “I don’t see Toei doing that. Financing both production and distribution in Japan is often under the same umbrella, so everyone wants to do what’s most profitable for the least risk. They only invest in what is very safe. Those of us in the older generation must create an environment in which [chambara] filmmakers feel they can thrive, and perhaps we should provide case-study examples of how these films can succeed. I’ve been asking myself how I can best create that kind of environment for younger filmmakers to be able to carry on the torch.”

Chambara: The Art of Japanese Swordplay reveals the secrets of how those shiny stage kata are made, and discussion returned several times to these potent symbols of the samurai soul. One audience member asked whether real swords were ever used. “Yes,” said Nakajima, to audible gasps from the audience. “But never to swing them. I used them to capture the light reflected on the blades, but we would never use them in action. It’s simply too dangerous. When you see and handle a real sword, you’re confronted with how frightening it is. It’s too intense and emotional. There’s a power that Japanese swords have, and we can’t imagine swinging them around in a movie.”

In the old days, noted an elderly audience member, “we didn’t hear the sounds of slashing and we didn’t see so much blood. Why did this change? Have chambara been pursuing an ever-greater level of reality to make them more popular today?”

Nakajima explained that the sword material itself had changed. “During the postwar period, they used takemitsu, basically wooden swords made from a type of oak,” he said. “The sound on set was thus the blunt sound of wood on wood. We didn’t replace them with sound effects. It wasn’t until 1960 or so that we started replacing the sound with something more metallic. There hasn’t been much evolution since then… But we have to remember that the world was a different place in the period in which jidaigeki are set, and they could hear things — the sound of geta, or the wind blowing — that we hear in a different way today. Most of these sounds have now been wiped out by music on the soundtracks, too.”

Added Seike, “Today, a lot of the blood is done with computer graphics, but we still use pumps and fake blood, and often, we try something different with them. But you’re providing entertainment for the audience, and it’s difficult to answer the question of ‘what is most real?’ I have no doubt that some films will continue to experiment with what works best for a particular film, but I don’t see this as an industry-wide trend.”

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Mance Thompson, photographer and ninja specialist,
gets Nakajima's autograph.  ©Koichi Mori

After mentioning that jidaigeki once attracted the biggest talents from literature and theater, a situation that is glaringly different today, Nakajima obliged one audience member with a recommendation for a couple of films to watch: “I think Samurai Hustle I and II are good, because even though they don’t have much chambara action, they really show what it was like to be a samurai, and show a new aspect of what jidaigeki can do. The action sequences aren’t too exaggerated; they maintain a certain reality. I think this offers a new direction for jidaigeki.”

Although he didn’t say it, Sadao Nakajima surely hopes that Chambara: The Art of Japanese Swordplay can also play a role in suggesting new directions. At the very least, it should help swashbuckle up interest in the genre among younger generations, as well as among those, like me, who didn’t realize quite what they were missing until now.

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                                                                                ©Yoshimoto Kogyo

Media Coverage

 


SPECIAL SCREENING of Kakekomi and
Q&A in collaboration with TIFF


 October 9, 2015
Q&A guests: Director Masato Harada, legendary actress Kirin Kiki,
Japan Now advisor Kohei Ando and TIFF Director General Yasushi Shiina


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Ando, Harada and Shiina listen as Kiki declares she just "tagged along with the director" for the event.

Anyone who has attended FCCJ’s screenings over the past eight years knows that our emphasis has been on introducing Japanese films and filmmakers to foreign audiences through the Tokyo-based journalists, critics, festival programmers and cinephiles who join us for our events. We were thus extremely gratified to hear that the 28th Tokyo International Film Festival (TIFF), running from October 22 - 31 in Roppongi and Shinjuku, would debut not one, but two new sections devoted to Japanese film: Japan Now and Japanese Classics.

When the full lineup was announced on September 29, the news was even better: three Japanese titles had made it into the main Competition section, and there were to be over 50 more English-subtitled films by a range of Japanese directors at the festival, from the likes of Akira Kurosawa and Kon Ichikawa (Classics) to Hirokazu Kore-eda and Sion Sono (Now) to Kohei Oguri and Koji Fukada (Competition), along with a 10-title tribute to Ken Takakura,

Perhaps most exciting of all, TIFF announced that it had selected Masato Harada as its inaugural Director in Focus, and unveiled what amounts to the first mini-retrospective of his work. Over a 30-year career, Harada has created a range of compelling films that are both social criticisms and world-class entertainments, and he is one of a small handful of Japanese who are comfortable directing overseas, as well.

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Ando and Harada share a laugh; Harada listens to Kiki describe his skill.

The Film Committee has had the honor of screening three of Harada’s recent films, and we were thrilled to be able to bring his early summer blockbuster, Kakekomi, to the club for an English-subbed encore.

Before the screening, we welcomed TIFF Director General Yasushi Shiina, TIFF Programming Advisor Kohei Ando, Harada and legendary actress Kirin Kiki — who won the Japan Academy Award for her titular role in Harada’s 2012 Chronicle of My Mother and also stars in Kakekomi — to discuss the festival’s new emphasis on local cinema.

Noting that there are over 500 Japanese films released every year in Japan, Shiina said, “This is my third year as the director of TIFF, and I’ve been wondering how best to introduce Japanese films and filmmakers to the world. We wanted to create a selection that would allow visitors to TIFF to see the full spectrum of films, to see what’s happening in the industry right now. We also wanted to focus on getting more recognition for Japanese filmmakers in overseas markets, and that’s why we created the two new sections, Japan Now and Japanese Classics. We look forward to welcoming audiences from as many countries as possible.”

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Kohei Ando, a filmmaker, producer and popular figure on the international film scene, was selected as the first programming advisor for the Japan Now section. He noted: “People often say that if you see three films from one country, you can learn a lot about that country. The concept of Japan Now is to help you learn more about Japan. We narrowed our selection to 11 films, one of which is a family story from maestro Yoji Yamada and another of which is from Hirokazu Kore-eda, also about a contemporary family. If you watch just these two films, you’ll have an understanding of the diversity of Japanese families today.”

“We decided to focus on Mr. Harada as the first Director in Focus,” Ando continued, “because we believe he deserves increased international recognition as a master filmmaker, and we also hope Japanese audiences will be reminded of his extraordinary talent.”

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Harada and Kiki have collaborated on only two films; here's hoping they double that number.

Harada said, “I’m not sure whether I belong to Japan Now or Japanese Classics (much laughter), but I’m honored to be selected and to show these five films. The last time I had a film shown at TIFF was in the Competition section 22 years ago, with Painted Desert. I’m very happy to bring my work to a festival in my own country, and I look forward to meeting audience members from all over the world.”

After joking that she had just “tagged along with Mr. Harada,” Kirin Kiki got more serious. “Mr. Harada is so enthusiastic about the works of other directors,” she said, “he’s always mentioning certain scenes in films by Kurosawa, Ozu and Kihachi Okamoto with such passion and enthusiasm, it’s one of his charms as a director. I see him trying to be an even better filmmaker than these masters, sometimes succeeding, sometimes not. But he’s very, very skilled, and… yahari, umai! (he’s wonderful!).”

The Director in Focus retrospective will feature English-subtitled screenings of Harada’s Kamikaze Taxi (1994), Climber’s High (2008), Chronicle of My Mother (2012), Kakekomi (2015) and The Emperor in August (2015). How did Ando and Harada arrive at this selection? “It’s simple,” Harada explained. “These five films were all rejected by the Cannes Film Festival.”

Ando interjected, “It’s really Cannes’ loss — we beat them this year by bringing these five films to TIFF.”

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Later in the evening, following the screening of Kakekomi, Harada’s first-ever jidaigeki period piece, the director and his star appeared for a Q&A session that was one of the most relaxed and intimate we have ever hosted. Speaking in English throughout (except when making remarks directly to Kiki), Harada fielded questions on a range of subjects, beginning with the reception of his films overseas.

He noted that audiences in Canada and Malaysia had laughed wildly over Kakekomi’s honey enema scene, and applauded when one of the antagonists is killed, a real difference from the more reserved Japanese audiences. He then revealed that he thinks not only about how his films will be received internationally while he’s directing them, but that he even considers how certain lines of dialogue will play in the subtitles. For Kakekomi, he changed character names from the original source novel so they would be more easily rendered in the subtitles.

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Kiki stayed on for the Q&A after the screening, and kept everyone in stitches, including
interpreter Mihoko Imai.

Kiki mentioned that she and Harada had argued rather extensively about certain casting decisions, but that she feels “completely comfortable” working with him, and was pleased that he could quickly make decisions about suggestions she would make. Harada countered, “It’s true that everyone was afraid of Kiki-san on set, but with her, there’s never a dull moment. Even though she complained about the casting, she can really create an energized atmosphere. I highly respect when she makes suggestions. She can come up with fabulous creative ideas, although I’m not sure she would make a good casting director.”

Both director and star continued to affectionately thrust and parry. “I think he’s a masterful, masterful director,” said Kiki. “But I can’t help complaining a bit. I don’t want to compare his work with other auteurs, but it is definitely worthy of more international praise. However, I think he should be more relentless in his perfection of small details. And he needs to put more of himself into his films. When he’s finally able to do that, I think we’ll see something different. He’s a world-class director now, but if he makes an effort to do what I’m suggesting, he’ll be even greater.”

harada2nd   kiki points

Harada’s 23 films over the past 30 years have addressed a wide range of subjects — what he terms “Hawksian relationship dramas” in an “old-school style”— that are perhaps not as embraceable by younger generations as the more gonzo style of Japanese genre directors who have found overseas followings. But his work is ripe for rediscovery.

And fortunately, we can expect it to continue. Harada hinted that another collaboration with Kirin Kiki is sure to occur: “I have something in mind, which I can’t announce yet. It’s a historical piece and the character I have in mind for Kiki-san is someone that no one would ever imagine...”

Photos by Koichi Mori and FCCJ.

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©2015 Shochiku

Media Coverage

MISS HOKUSAI (Sarusuberi)


MISS HOKUSAI


May 7, 2015
Q&A guest: Director Keiichi Hara


May 07 15 Movie Miss Hokusai by Aoki 031
Hara lightens up under questioning.

Just two days before the hotly anticipated release of his latest film, Annecy-winning director Keiichi Hara (Colorful) thrilled FCCJ’s audience with a sneak peek of Miss Hokusai, which illuminates the extraordinary lives of iconic artist Katsushika Hokusai and his outspoken daughter O-Ei. Following a spate of recent discoveries, O-Ei is now recognized not only as an essential contributor to her father’s later — and most famous — work, but as a groundbreaking artist in her own right.

It was only the second time in the past decade that the Film Committee had screened an animated film (the other was Eric Khoo’s Tatsumi in 2013), which is admittedly inexplicable from both a creative and financial stance*, given that the anime industry accounts for 90% of all Japanese “content” sales overseas, regularly earns a bigger chunk of change at the domestic box office than all other films combined, and is propelled by some of the biggest names in the global pantheon.

  hokusai workplace
O-Ei (front) and Hokusai (middle) work amidst the detritus of leftovers and failed drawings.
© 2014-2015 Hinako Sugiura・MS.HS / Sarusuberi Film Partners

But one doesn’t have to be an anime aficionado to appreciate Hara’s enthralling vision of old Edo. Paying tribute to one of Japan’s greatest artists — and the assistant who, given different circumstances, might have one day surpassed him — he has literally animated the process of artistic creation in ways that are by turns lyrical, lush, magical, startling and sublime. (The FCCJ audience was split, however, on whether his use of heavy metal in the opening and closing scenes was poetic-license appropriate.)

Marking his first collaboration with the acclaimed animation house Production I.G (Ghost in the Shell, A Letter to Momo, Giovanni’s Island), working with the chief animator of Hayao Miyzaki’s The Wind Rises, Yoshimi Itazu, and celebrated background artist Hiroshi Ohno, Hara has adapted the beloved historical manga Sarusuberi (Crape Myrtle) by Edo Period expert Hinako Sugiura for Miss Hokusai.

May 07 15 Movie Miss Hokusai by Aoki 010Interpreter Don Brown, looking positively animated himself
(especially the Fuji-and-sakura shirt!) did the subtitles for the film.

During the Q&A session following the screening, Hara repeatedly gave props to the original author. “I did a lot of research, but the vast majority of it was Sugiura-san’s,” he said in response to a question about why the film seems so “modern” compared to our typical image of Edo Japan. “I was trying to recreate the world that Sugiura-san created in her comics, rather than one that resembles a typical jidaigeki period piece. I think people in the Edo Period lived a far freer, more relaxed and congenial lifestyle than we lead today. They had much more fun.”

Hara also noted that he’d chosen a “simple, realistic” style of animation to suit the story. He stressed that Sugiura’s women are not “living tragic lives, being persecuted by men. In Sugiura-san’s manga, they are full of life, and have the power to choose whichever man they want. Sugiura-san’s manga, as well as her essays and other works, showed an image of women that was very different from what we’d seen in period films and on TV.”

Indeed, Miss Hokusai often feels almost hyperrealistic in its breathtakingly colorful depiction of 1814 Asakusa-Tawaramachi, teeming with peasants, samurai, merchants, nobles, artisans, courtesans and not surprisingly, we soon find out, a slew of supernatural beings. A stone’s throw from Ryogoku Bridge, the eccentric Tetsuzo (aka Hokusai) spends each day creating paintings for clients around Japan, from an enormous Dharma that fills an entire hall to a tiny pair of sparrows on a grain of rice. A master of portraits, landscapes, still lifes and erotica, Tetsuzo’s skill fits any commission. O-Ei works at his side, assisting, cajoling and smoking her pipe. They neither clean nor cook, and when their discarded work and leftover food fills up their home-atelier, they simply move to another. Undeniably talented, as well as stubborn, short-tempered and uninterested in money, this father-daughter team may not always agree, but “with two brushes and four chopsticks,” they can get by.

hokusai darumaHokusai paints a pretty (big) picture.
© 2014-2015 Hinako Sugiura・MS.HS / Sarusuberi Film Partners

Hara deployed 3D computer graphics in creating the film, but noted, “I didn’t want the CG to take you out of the film. The basic process is the way it’s always been done in 2D animation… In particular, there’s one scene where O-Ei runs out of the inn, and the camera pans down to her feet, comes back up and swings around, facing her. Normally, that would be done by a CG and 2D animator working together. But I had one animator do the whole 40-second sequence. It took 3 months. But it’s the kind of amazing sequence that Japanese animators have the technique and skills to accomplish.”

Returning to Sugiura once again, the director explained, “In the manga, O-Ei is the central character [in certain scenes only], but I decided to make her the main protagonist of the film. [Like O-Ei,] Suguira had a soft side to her, but as a writer, she was also very strong and had an eccentric side.”

Far from being just the first film Hara has directed that features a female protagonist, Miss Hokusai also surrounded him with a non-traditional crew. “There are more and more women working in the anime industry, especially at Production I.G, which made this film,” he said. Besides Sugiura, “the screenwriter was a woman, the two producers were women, and some of the animators were women. So there wasn’t any gender gap on this film.”

May 07 15 Movie Miss Hokusai by Aoki 056  May 07 15 Movie Miss Hokusai by Aoki 052
Hara poses with the film's poster, and holds up his newly minted FCCJ Honorary Membership.

Although he directed his first live-action film, the biopic Dawn of a Filmmaker: The Keisuke Kinoshita Story, in 2013, it doesn’t look likely that Hara will be leaving animation behind. Along with all his past prizes, in 2015, he was awarded the Anime d’Or at the Tokyo Anime Award Festival for his achievements. Hara will be heading to Annecy, France once again in June, where Miss Hokusai is in festival competition, as well as Montreal in July, where it is the Opening Night film at Fantasia Film Festival. It was also presold across Europe, with releases planned in France, Belgium, the UK, Germany, Austria, Spain and Portugal, among other nations. Can the USA be far behind?

*So shoot me — I didn’t develop a taste for animation in my youth, and it’s easier to program live-action films when you’re fairly ignorant about the likes of Tezuka, Ishii, Anno, Mizushima, Nishio, Araki (but we have tried countless times to persuade the fellows at Studio Ghibli to join us at FCCJ, to no avail).
  Photos by FCCJ.

hokusai poster
© 2014-2015 Hinako Sugiura・MS.HS / Sarusuberi Film Partners

Media Coverage

A SAMURAI CHRONICLE (Higurashi no Ki)


 A SAMURAI CHRONICLE


 SEPTEMBER 18, 2014
Q&A guests: Director Takashi Koizumi, star Koji Yakusho, special advisor Teruyo Nogami


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Nogami, Yakusho and Koizumi share a laugh.

FCCJ’s audience had a special treat awaiting them after the sneak preview of A Samurai Chronicle, when Akira Kurosawa’s principal assistant for half a century, Teruyo Nogami, joined the film’s director and star for the lively Q&A session. Although the questions focused primarily on the new film, the 87-year-old leavened the proceedings considerably whenever she joined in to reminisce about the old days. “I was very fortunate to work with Kurosawa-san for a long time, from Rashomon onward,” she noted, “and whenever I see one of his films today, I realize that he was an incredible director, far better than I imagined at the time. I really regret that I didn’t realize it earlier.”

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Yakusho, Koizumi

Nogami was in attendance as a special advisor, a “dai sempei,” according to the director, who was also a longtime assistant to Akira Kurosawa and had made his own debut directing the master’s unfilmed screenplay, After the Rain (2000). She had visited the set during production, and felt Kurosawa’s spirit present, sometimes shouting “Hey, Koizumi!”

A film of autumnal magnificence, both in its stunning scenery and its sublime performances, A Samurai Chronicle was adapted by Koizumi from the Naoki Prize-winning novel by Rin Hamuro. Set at the end of the Edo period, it follows a samurai’s final three years before he must keep his promise to commit harakiri, the punishment for a crime he committed seven years before the tale begins. The 10-year delay is so Shukoku Toda (Yakusho) can complete a genealogical chronicle detailing the domain’s history.

Into his life as a simple country squire comes Shozaburo Danno (Junichi Okada), who has been sent by the prime minister to keep watch over the samurai. Toda’s love for his family and commitment to the community, especially the area’s downtrodden peasants, is unusual and Danno soon comes to suspect that this honorable man could not possibly have murdered someone in a fit of jealous rage. He sets out to investigate the truth, but finds something even more incriminating: a document that could unravel the domain’s entire chain of command.

A jidaigeki (period drama) in the traditional mold, the film was well received at FCCJ and inspired discussion of its meaning for contemporary theatergoers. In light of the political climate in Japan, and the film’s story of the manipulation of history through the chronicle of the title, Koizumi was asked whether he had intended audiences to draw any parallels. “There is no political message,” the director answered. “These events actually happened, and I tried be as accurate as possible in their depiction. At the same time, I hope the audience gets something out of the story, and I welcome personal interpretations about what is being explored.

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Yakusho joins Team Kurosawa.

Yakusho, generously making his third appearance at FCCJ in the last four years, was questioned several times about his plans to appear in more international films, considering his English-language successes Memoirs of a Geisha (2005) and Babel (2006) and his continued popularity in global hits like Takashi Miike’s hits 13 Assassins (2010) and Hara Kiri: Death of a Samurai (2011). “If I could speak English better, it’s possible that I might be working more in America,” Yakusho said. “But I’m grateful to be able to keep working in Japanese film, and I’ll continue to focus on doing my best possible work, and hope the films will be seen by as many people as possible. I hope the rest of the world can also see how good Japanese films can be.”

Chances are we can expect Yakusho to work with Koizumi again: both the star and his director expressed an interest in another collaboration, although Yakusho did mention he was a little worried about the high average age of Koizumi’s crew, which is peopled with veterans of Kurosawa’s shoots. If anything, age proved to be an asset on A Samurai Chronicle — at least behind the camera. In front of it, youthful megastar Junichi Okada and Maki Horikita essay impressive turns, and their love story is sure to draw the younger generation (most of whom think “Kurosawa” refers to Kiyoshi) to the theater.

 — Photos by Koichi Mori and FCCJ.

MC chronicle poster

Media Coverage

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