Showing posts with label Japan. Show all posts
Showing posts with label Japan. Show all posts

March 24, 2013

SUMMER WARS (2009) - an anime internet disaster movie!



SUMMER WARS
(2009, Japan)

Mind-expanding, family-friendly anime movie

I've been away from anime for too long, after taking a break when Satoshi Kon passed away suddenly, who I regarded as the most consistently interesting director of feature-length anime.

While Summer Wars isn't as completely sci-fi as Satoshi's Paprika (2006), it regularly hits similar heights, providing moments when it feels like your eyes are directly expanding your brain.


It opens with a brilliant, simplified, beautifully-designed, visual summation of the entire internet. In a parallel universe, if the whole world used a single unified browser. Anyone who logs on is represented by one identity, one icon, a little stylised animation of their online self. With this premise, it's easier to follow the story between the real world and the online world.

Summer Wars might have surpassed Paprika in my estimation if it had stayed in cyberspace for the whole movie - which I initially hoped it would. But this is still a hugely impressive.


It isn't a dark and addictive 'loss of identity on the web', as portrayed in the brilliant but downbeat Serial Experiments Lain (1998) (that's now out in the US on blu-ray), but an updated look at how dependent society has now become on the net in so many spheres and by all ages. The setting of an entire Japanese family having their annual get-together pitches the escalating story on TV news, with most family members also connecting online in some way. Importantly, this enables all ages to relate to it.


While this may seem to be a similar pitch for a family audience as a Studio Ghibli film, this is more technical and modern day than a Miyazaki fairy tale. The cyber fighting action (which doesn't dominate the film) might also appeal more directly to teenagers.


After introducing us to the vast, stylised, online world, three teenagers who are still at school kick off the story, as a young man is enticed by his favourite young woman to an important family meal in their countryside mansion. However, he's being deceived and lured into a social trap, also unaware that his online character is about face a mysterious global threat, as the entire internet starts to go wrong.


Director Mamoru Hosoda previously had a big hit with the animated version of The Girl Who Leapt Through Time (2006), which I didn't enjoy nearly as much. Summer Wars is more complex and grander in scale, while at times proving just as fanciful. It's funny, occasionally violent, scary... everything. All while centring on a very traditional Japanese holiday, a view of modern life that we rarely see in the west.


Perfectly designed and directed, there's some beautiful but simple (virtual) camerawork, counterbalancing the dynamic, gravity-light cyberworld.

The story may have a few too many coincidences, but the representation of a whole country as a single extended family makes for a marvellous parable.


Summer Wars is out on DVD and blu-ray in the US and UK.



December 27, 2012

HOTEI TOMOYASU - Japanese axe-god live in London


Live in London, living in London!

On December 18th at the Camden Roundhouse, part of the HyperJapan festival, this concert was a superb return to the London stage (after twenty years) for Japanese rock star Hotei Tomoyasu, one of the greatest living guitarists!

For two hours, I could have been listening to a non-stop 1970s electric guitar solo. Tomoyasu played his recent hits ('Bambina') and many tributes to '50s rock 'n' roll, '70s rock heroes (Steppenwolf's 'Born To Be Wild') and his favourite avant-garde British idols like Roxy Music, T Rex and David Bowie (notably 'Starman').

I was delighted to hear his barnstorming opening 'Battles Without Honour or Humanity', which I'm sure many other bands, celebrities and, ah, wrestlers have used as playback intro music. But Tomoyasu plays it live, made world famous by its inclusion in the Kill Bill Vol 1 soundtrack. He followed this up with a blinding arrangement of the Mission Impossible theme.

I'd seen some of his pop promos and two of his film appearances (Samurai Fiction, and Red Shadow), but wasn't expecting his English to be so good. He told the audience (of mostly Japanese Londoners) that he'd now moved from Berlin to live in London. I thought he was just visiting for this gig! So look out for him playing more dates in the UK.

The entire gig was also filmed with five HD cameras, so keep your eyes peeled for something better than iPhone footage in the near future.

Here's a great, longer review of the gig with photos and extracts from HaikuGirl...


September 16, 2012

GYO: TOKYO FISH ATTACK! (2012) - Junji Ito anime adaption


GYO: TOKYO FISH ATTACK!
(2012, Japan)

Don't gyo anywhere near the water...

The DVD cover art makes this look like a Sharktopus derivative (and nowadays, ripping off Roger Corman would be a very low stoop). But it's actually a most welcome feature-length anime adaption of Junji Ito's 2001 manga story, Gyo. Animation makes for a faithful realisation of his visual style and unreal world.


Three students are spending a study vacation on the southern Japanese island of Okinawa. But what they think is a rat running around inside their beach house turns out to be a fish... on legs... stinking like a corpse. Outside, the ocean appears to be emptying - every kind of sea creature is running up the road. Their holiday ends abruptly when a shark appears at their window...

As the creepy crawling catastrophe heads for the cities, humanity gets infected and slaughtered in an escalating variety of nasty...


While a possible root cause is discovered (for me, it doesn't hold enough water), you're invited to revel in the bizarreness and grotesquerie of Ito's nightmare visions.


Ito has written and drawn my favourite scariest manga stories, also inspiring the live-action movies of Uzumaki and the Tomie series (currently numbering nine). The Uzumaki manga is my favourite ever manga story (published in three translated volumes by Viz). But Gyo topped it for gruesomeness and I thought it would defy adaption. While a live-action Gyo would 'out-gross' The Human Centipede, anime is a logical option.

From Junji Ito's original 2001-2002 manga story, Gyo

Anyone new to Juni Ito's stories, or even Japanese horror, needs to be warned that this isn't a traditional disaster/invasion movie. The authorities aren't going to turn up at the end and clear it all up. One hero isn't going to set everything straight. These are explorations of Ito's fears, in this case the ocean, taken to logical extremes, but following dream-logic. The hallucinatory climax brings some of Ito's best work to life in glorious colour...


Some of the isolated weirdness that happens in Gyo has more context in the manga, and could be mistaken for story-points (like the floating fish corpse in the binbag). But they're just extra bizarre ideas that Ito wants to freak us out with.

The anime is quite short (at 71 minutes) but runs at a very fast, multi-legged pace. The chronological events of the manga are slightly scrambled, making the character's logic even harder to follow. Some of the horrors are reassigned to different and new characters (horror-reassignment?), and the scuttling escalation is now rushed and out of sequence. (If the town's overrun by walking fish, I wouldn't stick around...). Initially, the media seems unconcerned, transport runs smoothly, and some of the streets remain strangely clear of ambulatory sea life.

Besides the altered timeline, another deviation from the manga is the addition of more female nudity, sex, and low-angle crotch-shots. Mixing up soft-porn titillation with sexual violence is still a regular trait of adult anime, but the one-sided sexual victimisation of only the female characters really needs to move on and challenge the genre stereotype that has dogged anime, ever since the infamous Legend of the Overfiend followed Akira into international consciousness.

The 3D animation of the fish, sharks and other unearthly creations clashes with the 2D characters as usual, but seeing these creatures so vividly portrayed is a surreal treat.

Early, publicity artwork
I'm delighted that Terror Cotta have released this so quickly (on a region 2 PAL DVD in the UK), rather than the years-long wait we normally have to endure for translated Japanese movies. The extras include an interview with creator Junji Ito, who I'd like to hear a lot more from! The English subtitles are pretty good, but could have done with a spell-checker. There's no option of an English-language dub, which I personally don't miss. But as I've said, the cover art (seen at top) looks like an Asylum movie (and I'd have really liked a reversible option). Though I'll admit that while I liked the original artwork, it's equally misleading.

An anime expansion of the world of Uzumaki would be next on my Ito wishlist...


Here's a short taster of Gyo: Tokyo Fish Attack on YouTube...




Other movies based on Junji Ito manga:





May 24, 2012

BLOOD-C (2011) - Saya returns in a bloody new anime





BLOOD-C
(2011, Japan, TV)


You want monsters and bloody mayhem?

(UPDATED - June 2013 - on DVD and blu-ray in the UK and USA)


A twelve-part anime series continues the saga of Saya, the vampire slayer, first seen in the extraordinary short film, Blood The Last Vampire (2000), set during WWII.

Animation house Production I.G eventually followed it up with an epic fifty-part anime series Blood+ in 2005. Then there was a disappointing 2009 live-action adaption of the original short, made in Hong Kong. But with Production I.G again on the case, I was keen for more...


Here, Saya is a girl leading a normal school-life by day, but fighting demons by night. Her father, a priest, has prepared her for daily battles against a ghastly evil that manifests itself as a series of incredible strong and vicious creatures. Young Saya appears to have superhuman strength and amazing sword skills, but still struggles to protect the innocents that the blood-thirsty monsters prey on. As the attacks increase, Saya punishes herself because she can't even protect those she loves...


Blood-C cleverly doesn't immediately reveal its links with the previous stories. Another spin is that the monsters aren't huge vampire bat demons any more. Instead there are an outrageously inventive menagerie of loathsome creatures, each with their own ghastly methods of attack.


The early episodes waste time with her bizarrely traditional and cute school life, with a cast of familiar characters. At school, Saya is indecisive, shy and accident-prone. A very uninteresting alter-ego compared to similar heroines of Buffy The Vampire Slayer and Bleach. It's also mind-boggling how monolithically female anime characters are portrayed. Saya is a young schoolgirl, yet she has unfeasibly large breasts and is shown almost completely naked in the title sequence.

The nudity and bloody mayhem seem to demonstrate that the producers stepped up to new extremes, at odds with the simple set-up and childish humour. The amount of blood and gore is so excessive that TV stations have fogged out sections in a large number of scenes.

Thankfully, the story gets more serious and complex past the first few episodes and the creative blood-letting and imaginative monsters warrant seeing it through to the bloody end. 

The dynamic animation and artistic layouts are up to Production I.G's usual high standards. Like previous series, the music is lush and orchestral.




The entire series of Blood-C is now available on DVD and blu-ray in the UK, and as a combo blu-ray and DVD boxset in the US.



An animated movie has spun off the series and is just about to hit Japanese cinemas in June, Blood-C: the Last Dark.

 

Here's the movie trailer







March 27, 2012

TOMIE: UNLIMITED (2011) - she keeps coming back!


TOMIE: UNLIMITED
(2011, Japan)

This J-horror franchise has longevity, just like Tomie...

No matter how awful her predecessors have been, I can't resist seeing her again. I must see her again. It's obsession. No matter how hard I try to erase Tomie from my memory, new versions keep springing up. Just when I thought I'd never see her again...

Junji Ito's female nightmare began life in his horror manga, becoming an early recurrent subject. His artwork portrays fright to the highest level of hysteria. Some pages of his stories Uzumaki and Gyo literally give me the chills, usually something only movies can manage. The difficulty lies in filming 'visual hysteria', as well as convincingly portraying distorted human forms. Uzumaki made a fantastic film, but falls very short of the epic scale of the manga. Gyo, a tale of sea creatures on the attack, has just been made into a (short) feature-length anime that I'm really excited about. But the premise of Tomie is potentially endless.


Tomie is a simple but unique monster - a supernatural, psychic sado-masochist. A personification of the problems of obsessional love. A likely predecessor could be Kumi Mizuno's character from Matango: Fungus of Terror (1963). A femme fatale with a monstrous secret.

Miu Nakamura is the new Tomie
You'll be relieved to hear you don't have to watch any of the previous eight Tomie 'episodes' to understand Tomie: Unlimited, the story isn't a saga. More like a string of serial killings. Her methods and motives are consistent, she just keeps finding new victims...


The story starts with a bang (the scriptwriter must have been really impressed by the original version of The Omen) and Tomie is soon up to her old tricks. This time, the focus of her attention is a small Japanese family, in particular a teenage schoolgirl. Tomie usually picks men as her prey, and her victimisation of her younger sister also involves her father and the boy she fancies.

Tomie is also a glutton for punishment and keeps coming back for more, no matter what her loved ones do to her. Her method, divide and conquer.


All I'll say is that this film delivers plenty of body horror, but more in the style of Frank Henenlotter than David Cronenberg. I was initially alarmed that the director of RoboGeisha and Machine Girl was tackling this, because I hadn't enjoyed either of those. They were visually inventive but were overplotted, had too much cheap CGI and not enough laughs. But here he's consciously aiming for a horror film, with fairly restrained CGI in favour of practical prosthetic effects, though they're low-budget enough to look retro.


It begins as dark as any Tomie, creepy and psychotic, but then tips over-the-top to a frenzy, almost resembling a Re-Animator comedy for a few scenes. This is a shame, because it then regains its creepy balance for a very dark climax. Overall, this is the best Tomie for years, and certainly a good start for those who dislike their horror slowly-paced.

One of director, Noboru Iguchi's, aims with the film was to visualise ideas from the manga which had previously been too difficult to film. He's succeeded in bringing many more of Tomie's wildest talents to the screen, while other scenes are simple and effective evocations of Ito's 'hysterical horror'. One involves Tomie's hair...


The UK DVD and Blu-ray have a simple but extended interview with the director. At first glance, it's a little round man sitting by an office window, but the revelations about his start in the porn industry are both fascinating and beguiling, because of his honesty. Talking about his non-porn films, I was intrigued by the mentions he makes about not being able to show blood in his films, even recently. Presumably this has been a big problem because of mainstream Japanese film censors. But something must have just changed because this Tomie is incredibly bloody. Very, very.


Iguchi mentions that the actress playing Tomie's victim, Moe Arai (above), is a major pop-star from the J-pop girl-band AKB48. Only in Japan could a fifteen-year-old girl be cast in such a warped horror film and directed by an ex-porn director. (Enough hyphens for ya?)

He talks about his serious approach to Tomie and also about the films that have impressed and influenced him. He saw Jigoku (1960) and Hausu (1977) at an impressionable age. When asked about his favourite American films I nearly fell off my chair. The Devil's Rain, Flesh For Frankenstein, Who Can Kill A Child?, Dead And Buried, Zombie Flesh Eaters... Surely he can't like all the same films as me? I almost suspected that he'd picked this list to appeal to horror fans. Otherwise he has great taste... in films. As fanboys go, he actually deserves to be called anal-obsessive...


Here's my look at the first Tomie (1998) and links to reviews of the first seven sequels...

Here's a roughly-subtitled trailer...


"Goodbye for now..."


September 03, 2011

BAREFOOT GEN (1983) - he saw the bombing of Hiroshima


BAREFOOT GEN
(1983, Japan, Hadashi no Gen)

A terrifying account of the atomic bombing of Hiroshima, for children...

Disaster movies are currently all about meteor collisions and climate change. But for decades, the most likely apocalypse was nuclear war. In the 1980s, I was seriously worried it might become a reality, with Ronald Reagan constantly talking tough with the Russians. For all I knew, they all had their fingers on big shiny red buttons ready to launch hundreds of missiles at each other. It was hard to imagine what might happen.


Post-apocalyptic movies portrayed nuclear-ravaged worlds (usually as desert, as in Damnation Alley and Mad Max 2) and sidestepped showing the disaster itself, except for increasingly familiar stock footage of nuclear test explosions. But what was it like to be in a city at ground zero? This wasn't shown - the effects of radiation had only been hinted at with deformed humanoid monsters and giant animal mutations. (The original Godzilla (1954) had carefully portrayed the many effects of a nuclear blast in a work of fiction, but I didn't get to see that until the mid-1990s).


Despite being decried as anti-government propaganda, realistic depictions of what a nuclear war could look like crept onto TV in the 1980s. The first that I saw was a short, shocking clip from Peter Watkins' The War Game (1965) made by the BBC but too realistic to be transmitted for several decades. The BBC however produced and transmitted the dramatic imagining of a nuclear strike on England in Threads (1984), just after America saw The Day After (1983), also made for TV. Both made sobering viewing - any country launching nuclear weapons would also automatically become a target. The fates of the USA and the UK would have been the same. Raymond Briggs' (The Snowman, Fungus The Bogeyman) graphic novel When The Wind Blows was then adapted as an animated film in 1986, describing how a suburban couple might cope with a nearby nuclear explosion if they follow the official government information booklet.

But I still had little idea of what the people in Hiroshima and Nagasaki had actually experienced during and after the nuclear blasts in 1945. The only depiction in a movie I saw in the 90s was a brief scene in Black Rain (Japan, 1989), shown on TV.


Eventually there was Barefoot Gen. I first saw a clip from the anime movie on Japanorama, a 2002 Jonathan Ross TV show about Japanese pop culture. The moment the bomb detonates over Hiroshima was incredibly shocking. It was simply-drawn animation, but depicted horrendous and graphic events. A nightmare on Earth. It's even more horrifying because the author had personally witnessed it all. To see the film I bought a secondhand VHS from the US, where it had been originally released.


Keiji Nakazawa was six years old when the bomb dropped, as he was on his way to school in the centre of Hiroshima. A split-second quirk of fate saved his life. In an instant, everything around him changed. The city was levelled, there were very few buildings with foundations of steel and stone. Anyone who wasn't instantly vaporised had been hit by the explosive blast and then a firestorm. The survivors could then die from the effects of radiation in the next few minutes, months or years... Keiji stayed on the outskirts of Hiroshima as it started to rebuild itself.


He became a manga writer, but wasn't able to publish the first volume of his most famous work until 1973 when Japan started to talk about Hiroshima and Nagasaki again. The stories of Barefoot Gen are dramatised versions of reality, but were "70 percent" (his words) based on Keiji's actual childhood experiences. Immediately popular, they soon inspired three live-action films at the end of the decade. But the manga proved a better way to spread the story overseas, being translated into many languages. An anime adaption was a logical extension.


However the animated film (produced by Madhouse) is strangely aimed at children, the title music is fiercely corny and upbeat. It even starts like a Ghibli movie following boisterous six-year old Gen (pronounced with a hard 'g', as in 'begin') and his younger brother trying to scrape fun and food out of the rural war-torn Japanese countryside. Gen's father struggles to feed his family and decries the rulers of Japan for not surrendering. But the boys still have fun together and little mischievous adventures - the children even look like typical Ghibli creations, the youngest child has a huge mouth and a big grin. The animation is fairly simple but well-observed. Occasionally, there's a brief voiceover about the state of the war and the bomb being prepared.

The first half of the movie takes time to set up what life was like around the city in 1945, and then the bomb drops.


In an instant, 80,000 civilians die instantly. Gen accidentally survives, finding himself in the middle of a nightmare. Some of the walking wounded are partially melted, many of them are better off dead. It looks like hell on Earth. Corpses are everywhere and the rubble is still on fire.


The next scene is just as upsetting as the explosion, as Gen discovers what has happened to his family.


In the days that follow, as Gen is struggling to find food and shelter, people are still slowly and painfully dying of the effects of radiation. (Decades later, that exposure to radiation is still killing the survivors of the bombings of Hiroshima and Nagasaki - Keiji Nakazawa himself is currently battling cancer).

The story continues to follow Gen through the initial dark days after the bomb, until he starts a new life, staying in Hiroshima, making his way anyway he can, with nothing. Against all odds, Keiji wants the story to be an optimistic one. This is where the perspective of a six-year old actually helps, when nothing is impossible and humour can be found in the simplest things in life.


It's an extraordinary film, with a deceptively comic start. I've not seen such an explicit, realistic vision of what it was like on that day. It's horrific, even depicted with simple drawings. I still don't think it's possible for a live-action equivalent of the same sequence. A recent Japanese TV adaption expanded the story to three hours, spending more time with Gen's family, but the scene of the bombing is quite short, treated in a similar way to The Day After.

Gen's story continued in another animated movie set three years later. Barefoot Gen 2 (1986) shows Hiroshima slowly recovering, but with orphans roaming the streets and the black market thriving. It's similar to other post-war stories, but with the characters dealing with the continuing effects of radiation. The doctors are trying to deal with radiation sickness, when no research or treatment yet exists. Understandably, with all the dead still not buried, there's resentment of the occupying American forces.

Again, the story strives for optimism and the chirpy opening title song seems inappropriate, but the story is gritty and memorable, still refusing to pull punches. The sequel is included as a double-bill on the DVDs.

The atomic dome in modern Hiroshima
(photo by Hirotsugu Mori, 2006)
Barefoot Gen prepared me for my own visit to Hiroshima in 2004. A day trip included a visit to the iconic 'atomic dome', one of the only recognisable landmarks left standing close to the centre of the blast. Rubble lies around the skeletal building as if it had been destroyed the day before. A short walk through the memorial park took us to the huge museum which traces the events of how the bomb came to be dropped on Hiroshima and the devastation it caused. There are two huge scale models of the city as it looked before and after the explosion. An exhibit of photographs of the effect of radiation burns was simply too much to look at.


In the anime, as Gen runs to school just before the blast, there's a series of seemingly inconsequential images that resonate with some of the artifacts in the museum. He passes a pile of bottles and a woman sitting on a doorstep. You can see these bottles all fused together from the heat of the blast, as well as the shadow of the woman vaporised into the stonework of the wall she was sitting in front of. The grim events are of course in complete contrast to the vibrant modern city that Hiroshima is again today. My most vivid memory of the day was the tribute of hundreds of fresh flowers still being laid out at the memorial arch.



In 2005, Barefoot Gen and the sequel were released in the UK on DVD from Optimum Asia (at top), in Japanese with English subtitles. The 4:3 aspect ratio looks accurate. They're now on DVD in the USA as well, from Geneon (above). Through the efforts of Project Gen, the manga has also been widely translated and published. More about the original manga, and some pages from it, here, with spoilers.



I've not seen the three live-action Japanese films made in the 1970s (directed by Tengo Yamada), but here are some screengrabs from the first film, made in 1976 .



The 2007 two-part TV series expands on the events portrayed in the anime, including more about Gen's older brother joining the army. Only available with English subtitles on this Hong Kong DVD (from Amazon USA here).


Of course now the Japanese nightmare of deadly invisible radiation is no longer confined to World War 2. The recent earthquake damage to the nuclear power station at Fukushima has again spread radioactivity into the ground, the sea and the air, with little information as to where it is and what the effects can be, short term or long term. It's like a slow-motion replay of the aftermath of Hiroshima.

Keiji Nakazawa is finding a new audience as he attempts to dispel the myths about the effects of radiation. After a lifetime of campaigning against the use of nuclear power and weapons, he's also currently participating in a new documentary. News article and a recent photo of Keiji.