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2009年6月 9日 (火)

Japanese Film Festival - 0830am Sat August 8 日本映画祭 上映作品

2009年8月7日から11日まで バギオで開催される 「日本映画祭」での上映作品の御案内です。 このイベントは マニラの国際交流基金が、バギオ・センター・モール・シネマ、バギオ100年祭委員会、及び 北ルソン日本人会(JANL)の協力を得て開催するものです。

Japanese Film Festival will be  held at Baguio Center Mall Cinema during August 7 to 11, 2009, to celebrtate Baguio Centennial   This event is done by Japan Foundation Manila, in cooperation with Baguio Center Mall Cinema,  Baguio Centennial Commission and Japanese Association in Northern Luzon, Inc.(JANL)..

The below movie will be shown at  8:30am, Saturday, August 8.

Tony Takitani
Toni Takitani (
トニー滝谷)

Photo_3 

Color / Vista / 2004 / 75 min / Wilco

Director: Ichikawa Jun
Script: Ichikawa Jun
Based on a story by: Murakami Haruki
Cinematography: Hirokawa Taishi
Art Direction: Ichita Kiichi
Music: Sakamoto Ryuichi

Executive Producers: Hashimoto Naoki, Yonezawa Keiko
Producer: Ishida Motoki

Cast:
Tony Takitani,
and Takitani Shozaburo, his father: Issay Ogata
Konuma Eiko, Tony's wife,
and Saito Hisako: Miyazawa Rie
Tony as a boy: Shinohara Takafumi
Art class teacher: Shihodo Wataru
Hisako's mother: Mizuki Kaoru
Eiko's former lover: Kusano Toru
College student: Oyamada Sayuri
Part-time worker: Yamamoto Hiroshi
Apartment manager: Kino Hana
Narrator: Nishijima Hidetoshi

Setting: Tokyo in the decades after World War Two.

Synopsis:
Tony Takitani's father, Shozaburo, was a jazz trombonist who was jailed and lost his family during the war. Alone, he married a distant relative, who died only three days after giving birth. A friendly American soldier suggested naming the boy Tony since this was an American age, but Tony grew up introverted, embarrassed even by his name. He seemed cold to his girlfriends and maintained his distance from radical politics or art. What seemed to suit him best was drawing mechanisms, so he became a technical illustrator, and a successful one at that.

 
Into his somewhat sterile and regimented existence one day came Eiko, a woman who describes herself as being born to wear clothes, as if they supply what she lacks. Tony asks her out and soon proposes marriage, but she asks him to wait, confessing she has an old lover. Tony is shocked, and it is his reaction that communicates his feelings to her for the first time. The two get married and Tony, who initially so enjoyed being with another that he feared becoming alone again, slowly gets used to her except for one thing: her compulsion to buy clothes. She purchases so much, in 
Japan and in Europe
, that Tony has to buy new wardrobes and find new places to put them. He asks her one day to try to refrain from acquiring so many clothes, and so even though it was like an addiction to her, she does try to stay home for a week so as not to buy any more. She even tries to return some clothes she recently bought, but in the car on the way back, she can only think of the poor clothes. When she turned the car around, that was when she got into a fatal accident.


Tony is of course stunned, but his way of trying to overcome his wife's death is to try to hire an assistant who also has to wear her clothes. Hisako, who looked a lot like Eiko, was the one who fit them best, so he offered her the job. She was somewhat concerned by the odd job description, but not finding Tony to be a bad person and needing the money, she agrees. But she asks to see the clothes first. When Tony takes her to a large room full of clothes. Hisako is overwhelmed by the thought of someone dying leaving so many clothes, and she kneels down to cry. Tony gives her a week's worth of clothes and a coat, but when he begins to see the clothes as the shadow of his wife pressing down on him, he calls up Hisako to abandon the whole idea. He lets her have the clothes she took and sells the rest.


Two years later, Shozaburo dies too, leaving Tony with many old records and memorabilia. A year with them and Tony sells or burns those too. Now he is truly lonely again, and when he attends an exhibition of his work, he runs into the man who was Eiko's lover. Noting how hard it was to be with Eiko, the man also mentions Tony's reputation: that he is as boring as his drawings. Tony returns to the empty wardrobe room and curls up the floor, like his father did in a jail cell long ago, unable to forget Hisako crying in that room. Meanwhile, Hisako is still wearing Eiko's clothes. One day, she gets a phone call, but the other party hangs up as she answers. It was Tony, who had saved her resume from the fire as he was trying to burn up all his old memories.

Notes:
Tony Takitani is only the third feature-film rendition of a novel by Murakami Haruki, arguably
Japan's most famous contemporary novelist [Nomura Keiichi's "Mori no Mukogawa" (1988) and Omori Kazuki's Hear the Song of the Wind ("Kaze no Uta o Kike," 1981) are the other two]. It is also possibly the most successful, as Ichikawa Jun, himself a veteran director of TV commercials, beautifully conveys Murakami's quite contemporary and somewhat fetishized interest in things, while also evoking the sad reality that even though characters cling to objects to supply what they lack, they add no weight in a world dominated by images. Ichikawa's long-take cinematography, prominent in his other films, such as Tokyo Lullaby ("Tokyo yakyoku," 1997) and Dying at the Hospital ("Byoin de Shinu to Iukoto," 1993), not only renders these images as a rolling tableaux, but also matches Tony's own detachment through frequent long shots.

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For more information, please visit  JANL web site.

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