« 2009年5月10日 - 2009年5月16日 | トップページ | 2009年6月14日 - 2009年6月20日 »

2009年6月12日 (金)

フィリピンのバギオで その時 なにがあったのか

 

第二次世界大戦。 その時 フィリピンの軽井沢と呼ばれている避暑地バギオで どんなことが起こっていたのか・・・

こんなに明るい戦記物は 読んだことがありません。

5img_5225

バギオに定住して4年。

バギオのことを、歴史を、少しは勉強しなくちゃいけないだろう。

そう思って、戦争中にバギオの周辺でどんなことがあったのか、いろいろな戦記物を読んで来たのですが・・・

こんなん 初めてです。

5img_5226

こんなにラッキーな男の話は読んだこともない。 残虐で、悲惨な戦争の話がお決まりの戦記物の中にあって、こんなに明るくていいんだろうか・・と思うような 軽妙なタッチ。

それに、 バギオが「陥落」あるいは「解放」された時の バギオ市内の様子を ここまで書いてある本は 今まで 読んだことはなかった。

5img_5228

バギオで こんなことがあったのか・・・・を知りたければ、これが一押しです。

さて、 どこで こんな本を見つけたのか?

戦争体験について実際にバギオ周辺で体験した人たちが自費出版したものの中に、バギオでなにがあったのかを詳しく書いた本があるんじゃないか。

それで、こんなサイトを見つけたわけ。

http://library.main.jp/

特定非営利活動法人(NPO)自費出版ライブラリーの概要
 * 所在地 〒103-0014 東京都中央区日本橋蛎殻町2-13-5 美濃友ビル3F
 * 開館10時~19時、休館日曜日・祭日、入館に際し300円相当の寄付金をお願いします。
 * 貸出期間3週間(貸出寄付金は1冊240円と480円の2通り)

実は 5月末に一時帰国した折、東京の「自費出版図書館」 ってところに行ったんです。

この図書館は どこにあるのかって?

http://www.suitengu.or.jp/access_frame.html

半蔵門線・水天宮前駅 5番出口 下車すぐに 「水天宮」ってお宮があるんですけどね。 その並びを 2~3分歩いたところにありました。

このお宮は 安産祈願で有名みたいです。 お腹の大きな女性たちがたくさんお参りしていました。

・・・で、 その自費出版図書館で、「この棚にある本は 寄付金100円で ご自由にお持ち帰りください。」 って書いてあったんです。

なんで、 もうこの本は この図書館には 残っていません。

そりゃあないだろう~~、って声にお応えして、amazon で探しましたら、ありましたよ。 「古本、古書」で 検索してください。 中古本で 1円から売っています。 (笑)

そこで、ついでに こんな稀少な本まで めっけ!

ノリ・メ・タンヘレ―わが祖国に捧げる (1976年) (フィリピン双書〈1〉) [古書] (-)

ホセ・リサール (著), 岩崎 玄 (翻訳)
中古商品1点¥ 2,200より
 
皆さん、 早い者勝ち!! ですよ~~~

 


| | コメント (4) | トラックバック (0)

2009年6月10日 (水)

8am Tue August 11 Japanese Film Festival - 日本映画祭 上映作品の御案内

2009年8月7日から11日まで フィリピン バギオ市で開催される 「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、バギオ市制100年祭を記念して 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  8:00am, Tuesday, August 11, 2009.

Kamome Diner

Kamome shokudo (かもめ食堂)

Photo_3

Color / Vista / 2006 / 102 min / Nippon TV, VAP, Gentosha, Chat Chat Corporation, Paradise Cafe,

Media Suits

Director: Ogigami Naoko

Script: Ogigami Naoko

Based on the novel by: Mure Yoko

Cinematography: Tuomo Virtanen

Art Direction: Annika Bjorkman

Music: Kondo Tatsuro

Executive Producers: Okuda Seiji Oshima Mitsuru Ishihara Masayasu Komuro Shuichi Kobata Kumi

Producers: Maekawa Enma Amano Mayumi Kasumizawa Hanako

Cast:

Sachie: Kobayashi Satomi Midori: Katagiri Hairi Masako: Motai Masako Tommi Hiltunen: Jarkko Niemi Liisa: Tarja Markus Matti: Markku Peltola

Setting: Present-day Helsinki

Synopsis:

On a side street in Helsinki, Finland, a Japanese woman named Sachie runs a small eatery called Kamome (Seagull) Diner (“ruokala lokki”). A simple and sparsely decorated eating joint, it offers a simple menu, the main entree being Japanese rice balls. The proprietor of the diner, Sachie, hopes to provide an open space where people can relax, a place that offers uncomplicated Japanese food to Finns, and not solely to Japanese tourists.

However, most passersby seem reluctant to enter an unfamiliar eatery run by an unknown woman. She may catch the occasional curiosity seeker peeking through the window, but the Kamome Diner is empty for most part of the day. Nevertheless, Sachie, almost religiously, maintains a daily routine: she arrives early at her shop every day; she keeps its spotlessly clean; every night, she goes swimming at a local pool; and then returns to her small apartment to prepare dinner. It is as though she hopes that her hard work will eventually bring in customers.

One day, Sachie gets her first real customer?Tommi, a young Finn and a big fan of Japanese anime. He asks her to sing the theme song of the TV anime series Gatchaman, but she can only remember the first verse. The same evening, at the local cafe, Sachie encounters a Japanese woman named Midori, who is trying to read one of Tove Jansson’s Moomin books. On the spur of the moment, Sachie asks her if she knows the Gatchaman theme song, to which Midori answers that she does. Upon learning that she had just arrived in Finland?with her fate decided by closing her eyes and randomly pointing to a spot on a map?Sachie invites Midori to stay at her apartment.

Soon after, Midori begins helping out at the Kamome Diner, creatively adding some cartoons to the menu. A few days later, a middle-aged man suddenly enters the diner and orders coffee. Acting a bit impulsively, he starts showing Sachie how to make a delicious cup of coffee, after which he leaves. As the days go by, with Tommi remaining the diner’s sole customer?who, by the way, gets his coffee for free because he was the first customer?Sachie and Midori try new kinds of food like reindeer rice balls. However, these don’t quite do the trick. Next, they try cinnamon rolls, which finally lure three local women who had always looked in on the shop but never entered.

Gradually but surely, new customers begin to visit the diner, although some of the rare coffee Mattie had given her,on many days, Midori spots a Finnish woman who stares at them through the window but never enters. One day, Sachie and Midori notice another woman with her?Masako, a Japanese woman, whose luggage was lost by the airline with which she had recently traveled. A few days later, Masako visits again sporting brand-new clothes. Finally, at this point, the Finnish woman who so often stared through the window comes in and orders hard liquor. She offers a drink to Sachie and Midori, but both refuse. Masako, however, accepts the drink.

The Finnish woman orders another drink and then collapses. The three women, along with Tommi, carry her back to her place. As Sachie and Midori wait on the porch, the Finnish woman, Liisa, explains to Masako that her husband had left her. Masako, who does not understand a word of Finnish, seems to understand. If Masako appears to be skilled at nursing, it is because she took care of her ill parents for 20 years. After seeing the portrayal of Finland on TV as a calm and laid-back country, she decided to come to the country to do nothing, but finds it hard to do. Tommi suggests that she go visit the forest. After her trip to the forest, Masako returns to the diner and orders rice balls.

Everyone at the diner, who has ordered other dishes, stares at her as she eats these strange confections. A few days later, Liisa returns to the diner and asks the Japanese women about Japanese voodoo for placing a curse on someone. Sachie tells her about a curse performed by driving a nail into a straw doll. Liisa gives it a try, and in some place in Finland, an old man clutches his heart. Celebrating her freedom, Liisa takes the three friends to a vacation spa. They then return to the diner only to find it in the midst of a break-in. Sachie uses her Aikido skills to overpower him and is surprised to find that the burglar is the same man who had taught her to make the delicious coffee. It turns out that the man, whose name is Matti, used to run an eatery here and has only come to take the coffee grinder that he had left behind. His wife and child, it seems, had left him.

Sachie suddenly declares that she is hungry and prepares rice balls for everyone, calling it Japanese “soul food.” Sachie lets Matti have the grinder and sends him away. The following day, when they are sharing some of the rare coffee Matti gave her, Sachie explains as to why she had decided to keep rice balls as the diner’s main dish. Having lost her mother at an early age, it was she who cooked for the family. The only time she ate food prepared by her father was when he made rice balls for her school events. Rice balls, she says, are more delectable when prepared by another person.

One day, Masako comes in to report that her luggage has been found and that she has decided to return to Japan. In her hotel room, she opens her bags and finds all the mushrooms that she had collected but lost in the forest. While she calls the airline from a pier by the port to enquire about this strange incident, a man mysteriously gives her a cat. Now that she has a cat, Masako declares to Sachie and Midori that she cannot return to Japan. Another day dawns at the Kamome diner with many customers?old and new?coming to eat. One of them is Liisa, who comes in and happily reports that her husband has returned home. Later, in the swimming pool, Sachie tells herself that the Kamome Diner is now full. However, she finds that she is not alone; everyone in the pool applauds for her.

Notes:

Kamome Diner is by no means the first Japanese film to be shot abroad?quite a few have been made, for instance, in North America, East Asia, and Australia. However, it is probably the first film to be shot in Finland (with a largely Finnish crew). Finland is a country that is known in Japan mostly for Tove Jansson’s Moomin characters, and thus, for an image of a land that is relaxed, natural, and just a bit magical.

Director Ogigame Naoko uses this image, while also playing with it, as she explores the encounter between Japanese food and Finnish palates. In general, her films, such as Yoshino’s Barber Shop (“Baba Yoshino,” 2003) or Megane (2007), have portrayed, though not disapprovingly, the formation and maintenance of ritually bonded, if not cultish communities. In the face of this, Kamome Diner somewhat refreshingly advocates that individuals pursue their own wishes, although it too in the end imagines a global community founded through the overlapping of simple Japaneseness and mystical Finnishness.

Its lightly eccentric, feel-good tone made it a small box office hit in Japan, leading to TV commercials for bread featuring Kobayashi Satomi’s character (Sachie) and the diner as well as to Megane, a film with different characters, but which brings back the dynamics among Ogigami, Kobayashi, and Motai.

******************

For more information, please visit  JANL web site.

| | コメント (0) | トラックバック (0)

8pm Mon August 10 Japanese Film Festival - 日本映画祭 上映作品の御案内

2009年8月7日から11日まで フィリピン バギオ市で開催される 「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、バギオ市制100年祭を記念して 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  8:00pm, Monday, August 10.

Turn Over - An Angel Is Coming on a Bicycle
Futari biyori
(二人日和)

Photo 

Color / Vista / 2004 / 113 min / Nomura Planning, Turnover Partners

Director: Nomura Keiichi
Script: Nomura Keiichi, Ogasawara Kyoko, Yamada Rikishi, Yamada Testuo
Cinematograpy: Hayashi Kensaku
Art Direction: Ishihara Akira, Matsushita Yukari
Music: Monna Toshio

Producer: Yamada Tetsuo

Cast:
Kuroyoshi Chie: Fujimura Shiho
Kuroyoshi Gen, her husband: Kurizuka Asahi
Ito Shunsuke: Gashu Toshiki
Kobayashi Megumi, his girlfriend: Yamauchi Meibi
Yazawa Eriko, Gen's niece: Ikenobo Mika
Tatsuzo, Gen's apprentice: Takebashi Dan

Setting: Present-day Kyoto

Synopsis:
An elderly couple, Kuroyoshi Gen and Chie, are living in an old neighborhood of Kyoto. Gen is a traditional artisan who designs patterns and kimonos for Shinto priests. Chie and Gen have been married for 45 years. Chie has developed an illness that is affecting her muscles and she is slowly losing the ability to use her hands. Everyday Gen goes to gather water from the local shrine.
One day on his way back he sees a young university science student, Shunsuke, who is doing magic tricks for the neighborhood children. To cheer up Chie, Gen asks Shunsuke to come to his house to teach Chie some magic tricks. Chie and Gen were unable to have any children. Gen works hard at his business and in some ways does not appreciate Chie. But as she becomes sicker, Gen starts to take better care of her.
As the days pass, Chie and Shunsuke grow closer. Chie is losing control of her hand muscles more and more. Shunsuke's heart is moved by her efforts as she struggles to hold cards in her hands. Shunsuke has a girlfriend, Megumi who he cares about but he must make a decision about his future. He has been offered the opportunity to study abroad. As Shunsuke makes the decision to go, Chie's condition becomes worse as the muscles around her lungs tighten. After Chie's death, Gen is broken and realizes how much he has lost. Shunsuke and Megumi decide to go down separate paths but there is still a connection between them.

Notes:
Turn Over - An Angel Is Coming on a Bicycle is a film that captures the essence of the old films shot in Kyoto. In 2006, the film won the award for best editing at the Mainichi Concour Awards. Fujimura Shiho has appeared in lot of films since 1960s and recently also starred in the film To Dance With a White Dog ("Shiroi inu to warutsu o," directed by Tsukino Takashi, 2002). Kurizuka Asahi is mainly a jidaigeki (period film) actor and has also appeared in many TV programs. He used to run a coffee shop in Kyoto.

 

 

******************

For more information, please visit  JANL web site.

 

 

 

 

 

| | コメント (0) | トラックバック (0)

2009年6月 9日 (火)

8am Mon August 10 Japanese Film Festival - 日本映画祭 上映作品

2009年8月7日から11日まで フィリピン バギオ市で開催される 「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、バギオ市制100年祭を記念して 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  8:00am, Monday, August 10.

The Milkwoman
Itsuka dokusho suru hi
(いつか読書する日)

Photo_7 

Color / Vista / 2005 / 127 min / Paradise Caf?, Pugpoint Japan

Director: Ogata Akira
Script: Aoki Kenji
Based on the story by: Aoki Kenji, Ogata Akira
Cinemtaography: Kasamatsu Norimichi
Art Direction: Hanaya Hidefumi
Music: Ikebe Shinichiro
Producers: Oiwake Shiro, Hatanaka Motohiro

Cast:
Oba Minako: Tanaka Yuko
Takanashi Kaita : Kishibe Ittoku
Takanashi Yoko, his wife: Nishina Akiko
Minagawa Toshiko: Watanabe Misako
Minagawa Masao, her husband: Ueda Koichi
Takanashi Yoji, Kaita's father
Oba Chiyo, Minako's mother
Nurse Watanabe: Kozu Hazuki
Chief of a supermarket: Kagawa Teruyuki

Setting: Present-day Nagasaki

Synopsis:
In the hilly town of Nagasaki, Oba Minako, a 50ish single woman, delivers milk in the early morning to the people of the town. Her regular day job is as a supermarket clerk. She grew up in
Nagasaki
and decided as a young girl that she would never leave. Her father died when she was a young girl. Her mother raised her till Minako was in high school. While in high school, Minako and a boy named Takanashi Kaita dated.

Minako's mother had a boyfriend, who happened to be Kaita's father. One day, Minako's mother and Kaita's father were killed in a traffic accident while bicycling toward a secluded mountain area near the village. Kaita's mother was devastated. The death of their parents drove a wedge between Minako and Kaita.


Kaita became a city-hall official who works in the children's welfare department. He is married to a woman named Yoko, who is bedridden and slowly passing away. Yoko has always felt that a part of her husband was never really with her and she realizes that he still has feelings for Minako. As adults, Minako and Kaita have no relationship, yet Minako delivers milk to Yoko and Kaita's house every morning. Yoko is not the only one who realizes that Kaita and Minako's feelings for each other are unrequited. Minako's mother's friend, Toshiko, also knows that Minako has feelings for someone, even though she won't say who it is.


As Yoko is dying, she makes a final request to Kaita and Minako. She asks them to renew their relationship. Both Kaita and Minako are confused about what to do and angry at themselves for not being able to keep their feelings hidden all these years. After Yoko passes away, the two slowly begins to get back together. But as soon as they do, Kaita dies while trying to help a child drowning in the river.



Notes:
The Milkwoman won the Special Grand Jury prize at the
Montreal film festival in 2005. It was also nominated for seven other awards. Tanaka Yuko, who played the role of Minako, also played the voice of Lady Eboshi in Princess Mononoke ("Mononoke hime," 1997).

******************

For more information, please visit  JANL web site.

| | コメント (0) | トラックバック (0)

8pm Sun August 9 Japanese Film Festival - 日本映画祭 上映作品

2009年8月7日から11日まで フィリピン バギオ市で開催される 「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、バギオ市制100年祭を記念して 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  8:00pm, Sunday, August 9.

Memories of Tomorrow
Ashita no kioku
(明日の記憶)

Photo_6 

Color / Vista / 2006 / 122 min / Toei, Sumitomo Corporation, Toei Video, Nippan, Kobunsha, Yomiuri Shimbun, K Dash

Director: Tsutsumi Yukihiko
Script: Sunamoto Hakaru
Miura Uiko
Based on the novel by: Ogiwara Hiroshi
Cinematography: Karasawa Satoru
Art Direction: Oikawa Hajime
Music: Oshima Michiru

Executive Producer: Watanabe Ken
Producers: Sakagami Sunao
Kawamura Tatsuo

Cast:
Saeki Masayuki: Watanabe Ken
Saeki Emiko, his wife: Higuchi Kanako
Saeki Rie, their daughter: Fukiishi Kazue
Ito Naoya, her fiancee: Sakaguchi Kenji
Ikuno Keiko: Mizukawa Asami
Kizaki Shigeyuki, a potter: Kinashi Noritake
Yoshida Takehiro, a doctor: Oikawa Mitsuhiro
Hamano Kimiko, Emiko’s friend: Watanabe Eriko
Kawamura Atsushi, Saeki’s client: Kagawa Teruyuki
Sugawara Usaburo, an old potter: Otaki Hideji

Setting: Tokyo, 2004?2010

Synopsis:
In a flashforward to 2010, Saeki Masayuki is shown sitting in a vegetative state in a chair while his wife Emiko posts photos of their family members and friends on a board in front of him.
In the spring of 2004, Saeki is a relentless manager at an advertising agency and at the top of his game. He, however, begins to forget little things, such as the names of his clients, where he left the car keys, or where the turnoff is to his daughter Rie’s apartment. When he forgets a business appointment for the first time in his career, and subsequently, fails to recognize his employees in a crowded cafeteria, he consults medical reference books with the view that he may be depressed.


Emiko convinces her husband to see a doctor in regard to his condition. Saeki is outraged when the doctor runs him through a barrage of memory checks. Moreover, he becomes testier at the office as well. Additional testing makes it clear that Saeki is most likely suffering from early-onset Alzheimer’s Disease. Saeki panics and considers throwing himself off the roof of the hospital, but the doctor reminds him that dying is our destiny, and there is no telling when he will actually die. Saeki and his wife study the nature of the disease and how its progression can be slowed, such as by avoiding alcohol, writing every day, and regularly exercising the arms.

To that end, in the summer of 2004, they both enroll in pottery classes, as they had done in their younger days.
In a flashback to a quarter century earlier, Saeki has to keep the old master potter at their workshop in the woods of Okutama, away from Emiko. Emiko is pregnant with Saeki’s child, and at the pottery studio, they decide to get married and call the baby Rie.


Back in the present, Saeki starts to draw the faces of his business associates on their respective business cards in order to remember their names. Emiko begins buying foods that are purported to be good for the memory. In spite of their efforts, however, Saeki’s condition deteriorates. He gets lost on the way to an important appointment, and one of his staff members, Ikuno Keiko, has to walk him through the route over the phone. Ultimately, the truth becomes known to his division president, who promises not to tell anyone and encourages him to consider retirement.


Rie is pregnant with a baby girl, and her fiance Naoya asks Saeki to give a speech at their wedding. Saeki continues to work until the time of the wedding, though along the way he is demoted from the post of director and receives a lower retirement package. At the wedding, Saeki loses his written speech and must improvise: he recounts how he was surprised to learn that he is to be a grandfather at the age of 50, but affirms that all things considered, he is grateful that the young couple is in a hurry. On his last day at work, Ikuno and the other members of his team present him with signed photos of themselves

.
His granddaughter is born in November, and he names her Mebuki. It is the happiest day of his life, but after this, his life begins to rapidly deteriorate. By 2007, the house is littered with signs telling him how to live his life. Emiko’s career?she works at a gallery?takes off, and Saeki knows that his behavior is becoming more and more erratic. He visits a nursing home to see if he’d like to move in, and then makes a journey back to the pottery workshop in Okutama. The shop is in ruins, but the old master is there, having run away from the nursing home. They spend the night drinking and singing together. The next day, there is no sign of the old master, and Emiko comes looking for him. He fails to recognize her, causing her to break down in tears, but they walk back to the station together.

Notes:
As executive producer, Academy Award-nominated actor Watanabe Ken (The Last Samurai, 2003) acquired the rights to the novel and selected the director and cast. Tsutsumi Yukihiko has directed a number of adaptations of manga for television and film, including Black Jack (2000, television), H2 (2005, television), and Twentieth-Century Boys (“Nijusseiki shonen,” 2008). Tsutsumi was awarded Best Director at the 2003 Philadelphia Film Festival for 2LDK (2003).

 

******************

For more information, please visit  JANL web site.

| | コメント (0) | トラックバック (0)

8am Sun August 9 Japanese Film Festival - 日本映画祭 上映作品

 

2009年8月7日から11日まで フィリピン バギオ市で開催される 「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、バギオ市制100年祭を記念して 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  8:00am, Sunday, August 9.

MIND GAME
マインド・ゲーム

Photo_5

STORY
Robin Nishi, a struggling manga artist, is reunited with Myon, the object of his unrequited love, and her sister Yan, both struggling to support their father's yakitori pub. While getting reacquainted at the pub they are interrupted by Yakuza loan sharks searching for Myon and Yan's father. A struggle ensues in which Nishi is killed, but he miraculously manages to cheat death and return from purgatory to outsmart the yakuza and flee the scene with Myon and Yan. A high-speed auto chase through the streets of
Osaka ensues with Nishi at the wheel and several carloads of yakuza in pursuit, until Nishi's car swerves off a bridge and is swallowed whole by an enormous whale.
In the belly of the whale, Nishi, Myon, and Yan, meet an old man, trapped inside the whale for thin years. From there, with the old man as there guide the three re-examine their lives, and discover their ability to control their own destiny and realize true happiness. 

The whale, sensing the end of its own life nearing, approaches Osaka bay and gives Nishi, Myon, Yan, and the old man a last chance to escape and return to what they left behind...

Masaaki Yuasa, Director
MINDGAME's super-talented and eccentric writer-director Masaaki Yuasa graduated from Kyushu Industrial Universities prestigious fine arts program in 1987 and began work as an animator soon thereafter. In
Japan he is best known as the creative force between the popular "CRAYON SHINCHAN" films (Shinchan being Japan's answer to Bart Simpson and the "CRAYON SHINCHAN" films and series are some of the most popular in Japan
's history). Some of Yuasa's career highlights include:


NEKOJIRU. Director, screenplay, storyboard, animation director on animated feature film, 2001. Recipient of National Arts and Culture Award for Animation and the
Montreal
Fantasia Festival's Foreign Film Award.


CRAYON SHINCHAN: STORMY JUNGLE. Art director and key animator on animated feature film, 2000.
SLIME. Director, art director, storyboard for animated feature film, 1999.
MY NEIGHBORS THE YAMADAS. Key animator on animated feature film.
CRAYON SHINCHAN: DENGEKI! BUTA NO HIJIME DAISAKUSEN. Art director and key animator on animated feature film, 1998.
NOISEMAN SOUND INSECT. Character design, art direction, animation direction on animated short film, 1997.
CRAYON SHINCHAN: HENDERLAND. Art direction storyboard and key animator on animated feature film, 1996.
THE CRAYON SHINCHAN SPECIAL. Screenplay, storyboard, animator director, and key animator on special feature for television, 1994.
CRAYON SHINCHAN: ACTION KAMEN VS. HIGHREG MAOU. Key animator and art director of feature film, 1993.
CRAYON SHINCHAN. Teleplay, storyboard, animation director, and key animator for television series 1992.


Staff / Cast
Director: Masaaki Yuasa
Original Comic: Robin Nishi "MIND GAME"
Music: Seiichi Yamamoto (Boredoms, Omoide Hatoba, Rashinban)
Voice Cast: Koji Imada ("Bokunchi") / Takashi Fujii ("Lost in Translation") / Tomomitsu Yamaguchi ("Kisarazu Cats Eye") and Toshio Sakata
Animation Director: Yuichiro Sueyoshi
Art Direction: Toru Hishiyama
CGI Direction: Keisuke Sasagawa
Editing: Keiko Mizuta
Production: Studio 4


2004 / 104 minutes / 2.35:1 / Dolby Digital
@ 2004 MIND GAME Project. All Rights Reserved.


STUDIO 4

Since
its inception in 1990, Studio 4
has been a hub of Japan's independent animation world. After joining the production of Hayao Miyazaki's "KIKI'S DELIVERY SERVICE", they produced an segment for Katsuhiro Otomo's "MEMORIES," which was critically acclaimed all over the world. In 1996, they collaborated with the Japanese techno god Ken Ishii for his music video "EXTRA," with which the director Koji Morimoto got known internationally. After that they produced a numerous number of animated works on various formats, from feature film to TV commercial to short film to music video. In 2003, they produced 4 ANIMATRIX episodes for The Wachowski Brothers, which proved Studio 4 to be one of the world's best anime production house. Highlights of Studio 4's history include:

MINDGAME. Animated feature film, 2003 (yet to be released)
THE ANIMATRIX. Animated anthology, 2003.
THE SECOND RENAISSANCE Part 1 and 2 I KID'S STORY / A DETECTNE
STORY / BEYOND
THE GIFTED BIT. Animated series for Japan National Broadcast (NHK), 2002-2003.
CONNECTED. Music video for Japanese recording artist Ayumi Hamazaki, 2002.
PRINCESS ARETE. Animated feature film, 2001.
LE SAUNDA. Animated commercial, 2000. Recipient of Clio award for director Koji Morimoto.
SPRIGGAN. Animated feature film supervised by Katsuhiro Otomo, 1998.
THE ETERNAL FAMILY. Series of 53 animated television commercials directed by Koji Morimoto for NTT Infosphere, 1997-1999.
NOISEMAN SOUND INSECT. Animated short film directed by Koji Morimoto, 1997.
EXTRA. Animated music video for Japanese artist Ken Ishii (Sony Music), 1996.
MACROSS 7. Animated video feature, 1996.
MEMORIES. Animated feature film, directed by Katsuhiro Otomo, 1995.

Eiko Tanaka, Producer
Before establishing her own studio, the independent and unpredictable Studio4
, Tanaka produced numerous animated feature films, commercials, and shorts, notably, Miyazaki's classic films "MY NEIGBER TOTORO" (1988) and "KIKI'S DELIVERY SERVICE" (1989). At studio 4 Tanaka has produced Katsuhiro Otomo's renowned anthology"MEMORIES".(1996), the much-praised short film "NOISEMAN SOUND INSECT," as well as feature films "SPRIGGAN"(1998), Princess Arete (2001). Most recently, Tanaka also sewed as Series Producer of "THE ANIMATRIX" (2003).

******************

For more information, please visit  JANL web site.

| | コメント (0) | トラックバック (0)

8pm Sat August 8 Japanese Film Festival - 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 

8:00pm, Saturday, August 8 and  8:00pm Tuesday, August 11..

Memories of Matsuko
Kiraware Matsuko no issho (
嫌われ松子の一生
)

Photo_4 

Color / Vista / 2006 / 130 min / Amuse Soft Entertainment, TBS, S-D-P, Gentosha, Toho, Hakuhodo DY Media Partners, Tokyo FM, Parco, Hori Productions, Warner Music Japan, Suplex

Director: Nakashima Tetsuya
Script: Nakashima Tetsuya
Based on the novel by: Yamada Muneki
Cinematography: Ato Shoichi
Art Direction: Kuwajima Towako
Music: Gabriele Roberto
Shibuya Takeshi

Executive Producers: Miyashita Masayuki
Kondo Kunikatsu
Hosono Yoshio
Kenjo Toru
Shimatani Yoshishige
Mase Yasuhiro
Kodama Keita
Producers: Ishida Yuji
Satani Hidemi

Cast:
Kawajiri Matsuko: Nakatani Miki
Kawajiri Sho, Matsuko’s nephew: Eita
Ryu Yoichi: Iseya Yusuke
Kawajiri Tsunehiro, Matsuko’s father: Emoto Akira
Kawajiri Norio, Matsuko’s brother: Kagawa Teruyuki
Kawajiri Kumi, Matsuko’s sister: Ichikawa Mikako
Sawamura Megumi: Kurosawa Asuka
Asuka, Sho’s girlfriend: Shibasaki Ko
Okura Shuji, Matsuko’s neighbor: Gori
Vice Principal: Takeyama Takanori
Saeki Shunji: Tanihara Shosuke
Yamegawa Tetsuya: Kudo Kankuro
Okano Takeo: Gekidan Hitori
Onodera: Takeda Shinji
Shimazu Kenji, a barber: Arakawa Yoshiyoshi

Setting: Fukuoka, Tokyo, and other areas in Japan between 1955 and 2001.

Synopsis:
It is Japan in the year 2001. Although everyone seems to be pursuing their dreams, very few manage to achieve them. Kawajiri Sho wanted to be a rock star, but he has stopped playing with his band. To add to his woes, his girlfriend wants to break up with him. He is in his messy apartment wallowing in sorrow when his father Norio suddenly shows up for the first time in two years and asks Sho for a favor.

Carrying the ashes of his older sister?Kawajiri Matsuko, who had been killed on a riverbank three days ago?Norio asks Sho to tidy up his aunt’s apartment. While cleaning up the horrible mess, Sho encounters many people and things that make him think about what Norio had said, namely that Matsuko’s life was meaningless. First, her neighbor, a punk rocker named Okura Shuji, starts telling him about how strange Matsuko was. The yakuza-looking punks hanging around the apartment appear to be of questionable character. In addition, a police detective shows him a picture of a scar-faced man who, he says, used to live with Matsuko and had got out of prison a month ago. Finally, there is a board on which Matsuko had scratched a hundred times, “Forgive me for being born.” Pondering its significance, he starts a conversation about Matsuko’s life with the detective

.
Born in 1947 on Ono Island in Fukuoka Prefecture
, Kawajiri Matsuko was a girl who had dreamt of living a blissful life. She seemed to be headed in the right direction, first becoming, upon the urging of her father Tsunehiro, a junior high school teacher; she was popular among her students for her beautiful voice. She was even asked out by Saeki Shunji, a very handsome fellow teacher whom she had dreamt of dating. But all this came to an end when one of her students, Ryu Yoichi, was accused of theft during a school trip. Trusting her students to a fault, she covered for him by saying that it was she who had committed the theft. Bawled out by a lecherous vice-principal, and eventually betrayed by Ryu, Matsuko quit her job and, ignoring the pleas of her sickly sister Kumi, left her home. Matsuko, it seems, was never given the love that her father gave Kumi; for instance, the only way she could get his attention was by making funny faces.

This turned into a habit, and making funny faces became her means of escaping tense situations, although they sometimes made things worse. Jealous of Kumi, she had to strike out on her own.


Although Matsuko thought her life to be was over, she did not lose her ability to dream. She then placed her hopes on the budding novelist Yamegawa Tetsuya, with whom she began living. Despite being physically abused, she supported his dream of becoming a great writer, going so far as to re-establish contact with her brother Norio in order to borrow money from him. Norio gave her the money but declared her to be dead to the family. However, in spite of Matsuko’s efforts, Yamegawa was fraught with worries about his abilities, and one rainy night, committed suicide at a train crossing.
Once again, Matsuko thought her life to be over, but she once more picked herself up and strove toward the future. This time, she became the lover of Okano Takeo, Yamegawa’s rival, and began to lead a rosy life. But when Okano’s wife found out about her, Matsuko was quickly dumped.


Desperate, Matsuko began working as a prostitute at a Turkish bath in
Fukuoka
. While posing a major change for her, this life also presented her with the opportunity to devote oneself to a goal. She exercised every day and worked hard, eventually becoming the number one girl in the establishment. Soon, however, new girls arrived and Matsuko was finally driven out. Following this, she traveled back home and, seeing no one around, read the diaries of her now deceased father, in which he had expressed worries about her after her departure. Kumi found Matsuko and pleaded with her to stay, but Matsuko merely dropped off money for Norio and left. With nowhere to go, she ran into a man named Onodera, who began pimping her at a Turkish bath in Ogoto. She made him loads of money, but killed him in a rage upon discovering that he had been cheating her.

Tokyo


Matsuko then began working at a salon in the
Ginza
, where one day she was surprised to find Megumi show up as one of her customers. Megumi had started a successful adult video company, and even she occasionally starred in the videos. Matsuko and Megumi soon became good friends. While still working at the salon, she ran into her former student Ryu Yoichi, who had become a gangster. Ryu said that he had always liked her, and the two then began living together. Megumi had sensed that Ryu was bad for her and tried to break the two up. However, Matsuko resented the interference, and their friendship ended.

 

Sho learns about this from Megumi herself, as she and her men arrive at the apartment trying to find out what had happened to Matsuko. Megumi and Matsuko had met for the first time in 18 years on the day before she died, and it was Megumi’s business card, given to her at that time, that Matsuko was clutching when she died.
Disturbed by all these stories, Sho sometimes wonders if he is dreaming or awake. But he is awake when a scarred-face man suddenly shows up at Matsuko’s apartment asking for her. He, apparently, does not know that she is dead. When Sho breaks the news to him, the man introduces himself as Ryu Yoichi and begins to tell his story.
Both Ryu and Matsuko, it seemed, felt that if they were going to Hell, they might as well go about it together.

However, Matsuko had quit her own job and become worried about Ryu’s yakuza lifestyle. Moreover, although he began abusing her, she stayed, preferring the abuse to being alone. She even became a yakuza girl. Later though, Ryu gambled away the gang’s money and ended up in jail. Matsuko faithfully waited for him, but Ryu wasn’t comfortable with accepting the devotion of a woman and did not return to her after being released from prison. He ended up in jail again and discovered religion, seeing in Matsuko an embodiment of God.

As Ryu finishes his story, the police arrive. Ryu begins fighting with them, declaring that he killed Matsuko. The police, however, already knew that he was not the murderer. Sho calls his father to tell him the news, confessing that he wished he could have met Matsuko. Norio tells Sho that he had met her once, when he was a little boy. It was at that time that Matsuko had learned from Norio that Kumi had died, till the last hoping that Matsuko would return.

Sho realizes that the river where he had met Matsuko, the river near their home, was similar to the river by the apartment she lived in. In her last years, Matsuko, unable to comprehend Ryu’s actions, decided to move there and never love anyone again. She ceased taking care of herself and became fat and unkempt, consequently becoming an object of ridicule for the neighborhood kids. Yet, she found some bliss in becoming a fan of the boy idol group Hikaru Genji. She even wrote to them the story of her life in a letter as lengthy as a book. However, when she received no response, she slowly started descending into insanity. It was at a mental health clinic that she ran into Megumi, who tried to offer Matsuko a job as a hairdresser.

Matsuko threw away the business card, but after dreaming of cutting Kumi’s hair, she changed her mind and went outside to find the card. She found it by the river, but unfortunately she fell under the radar of some junior high kids and it was they who beat her to death with a baseball bat after she began reprimanding them.
Listening to her story, which stirs his emotions and affect him deeply, Sho begins to understand why Ryu called Matsuko his God: she was an imperfect but giving God, in whom Sho could believe.

Notes:
On the surface, Memories of Matsuko is a celebration of spectacle and technology and the alternate worlds they can create. Nakashima Tetsuya, a veteran of TV commercials, created a visually stunning and colorful world that he filled with music and dance. However, this is not the utopia that musicals usually promise. Instead, Nakashima pursues the themes that he has often explored in his films like Happy-Go-Lucky (“Natsujikan no otona tachi HAPPY-GO-LUCKY,” 1997), Beautiful Sunday (1998), and even Kamikaze Girls (“Shimotsuma monogatari,” 2004): the need, in a tragic and disappointing world, to dream, and the problems that such dreams can create.

Thus, while Nakashima has become popular for his bold use of computer graphics, he continues to be both critical and sympathetic toward the desire for and use of such visual technology.

She now felt more hopeless than ever before, thinking that her life was well and truly over. She traveled to and attempted suicide, but was saved by a mild-mannered barber named Shimazu Kenji who just happened to be passing by. Matsuko started living with him and, as a result, began experiencing some happiness again. Shimazu even proposed to her, but soon after, the police came for her and she was sent to jail for murder.

In prison, Matsuko seemed to lose all hope, until a fellow inmate named Megumi asked her if she had a man. Following this, Matsuko eventually found a new purpose in life?living for the man she loved. She worked hard in prison training as a beautician, and eventually was released after eight years. However, on visiting Shimazu’s barbershop, she found him with a wife and children.

******************

For more information, please visit  JANL web site.

| | コメント (0) | トラックバック (0)

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.

******************

For more information, please visit  JANL web site.

| | コメント (0) | トラックバック (0)

Japanese Film Festival - 8pm, August 7(Fri) 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。

Japan 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  8pm, Friday, August 7.

Always - Sunset on Third Street -
Always San-chome no yuhi (ALWAYS
三丁目の夕日
)

Photo

Color / Vista / 2005 / 132 min / NTV, Robot, Shogakukan, Vap, Toho, Dentsu, YTV, Yomiuri Shinbun, Shirogumi, Imagica

Director: Yamazaki Takashi
Script: Yamazaki Takashi, Kosawa Ryota
Based on the comic by: Saigan Ryohei
Cinematography: Shibazaki Kozo
Art Direction: Kamijo Anri
Music: Sato Naoki

Executive Producers: Abe Shuji
Okuda Seiji
Producers: Ando Chikahiro
Moriya Keiichiro
Takahashi Nozomu

Cast:
Chagawa Ryunosuke: Yoshioka Hidetaka
Suzuki Norifumi: Tsutsumi Shin’ichi
Ishizaki Hiromi: Koyuki
Hoshino Mutsuko: Horikita Maki
Takuma Shiro: Miura Tomokazu
Ota Kin: Motai Masako
Suzuki Tomoe, Norifumi’s wife: Yakushimaru Hiroko
Suzuki Ippei, her son: Koshimizu Kazuki
Furuyuki Junnosuke: Suga Kenta

Setting: Tokyo, in 1958.

Synopsis:
The year is 1958. The government had declared in 1955 that the “postwar” period is over and Japan is starting a period of tremendous growth. 
Tokyo Tower is being built as a symbol of a recovered Japan, and not far from it, in the working-class area called shitamachi, people are trying their best to improve their lives. Hoshino Mutsuko, just graduated from junior high school, arrives in Tokyo with a group of young people from a poor region of northern Japan who have applied for jobs in the booming capital.

Mutsuko imagines that Suzuki Auto, which is where she is to work, must be some big car manufacturer, and is quite surprised when the company president himself, Suzuki Norifumi, comes to the station to greet her. Her friends tell her she might end up being the president’s secretary, but Mutsuko soon finds out that she is becoming the only employee of a small car repair shop in shitamachi. Norifumi’s wife, Tomoe, is gentle and caring, and their son, Ippei, a kind and energetic boy, but Mutsuko begins to cry from disappointment. When the short-tempered Norifumi hears of this, he flies into a rage, accusing of her of lying on her application by writing car repairs as a skill.

It turns out, however, that he not only lied himself in the job posting?saying Suzuki Auto was a car maker?but also misread her application (her skill was bicycle repair, which is spelled a lot like car repair in Japanese). Norifumi is forced to apologize.
This confrontation takes place inside the candy store of Chagawa Ryunosuke, which is across the street from Suzuki Auto. Ryunosuke was once a finalist for one of
Japan
’s most prestigious literary awards, but now he just writes adventure stories for kids in third-rate magazines. He lazes around the store he inherited from his aunt, waiting for the mail, which mostly only brings rejections from publishers.

He tries to drown his sorrows at a new bar run by Ishizaka Hiromi, an attractive woman who has quickly earned a few admirers. Drunk, somewhat smitten himself, and boasting of his expertise with children, Ryunosuke ends up taking in Junnosuke, the son of a dancer who once worked with Hiromi but who has disappeared. When he realizes what he has gotten himself into, Ryunosuke tries to get rid of the boy, but he changes his mind when he finds out that Junnosuke is probably the greatest fan of his adventure stories in the world.


Summer arrives and so does the television the Suzuki family has been waiting for. With TVs still a rare commodity, the entire neighborhood shows up at Suzuki Auto to watch the prowrestler Rikidozan use his famous karate chop against evil foreign opponents. But when the screen goes blank, Ryunosuke, brandishing his supposedly superior college education, tries to fix it and only makes it worse, ruining the night and the TV.
Junnosuke, usually looking cheerless and downtrodden, finally makes some friends in Ippei and his classmates who discover that he has been writing adventure stories himself?and quite good ones at that. Ryunosuke, suffering from writer’s block, also discovers the stories and surreptitiously submits one as his own story. Ippei and the others soon discover the plagiarism, but Junnosuke, thrilled to have his story cleaned up and published, only has feelings of thanks for Ryunosuke.


One day in the fall, Junnosuke overhears Ryunosuke and Hiromi talking about where his mother might be. Telling Ippei about this, the two decide to make the trek across town to visit his mother. Using all their money?and counting on Junnosuke’s mother for return fare?they reach the store she supposedly works at, but the man there bluntly sends them away, refusing to acknowledge she was ever employed there.

As the two worry about how to go back home, the Suzukis, Ryunosuke, and Hiromi frantically search for the two boys. When they finally make it back home, thanks to some money Tomoe sewed into Ippei’s sweater for emergencies, Ryunosuke slaps Junnosuke, telling him how worried he was. Hiromi becomes impressed at how Ryunosuke, who always reminds Junnosuke that they are not related, is starting to act like a real father.


Sensing her interest, Ryunosuke frantically tries to gather money to buy a present for Junnosuke and an engagement ring for Hiromi for Christmas. He gets a fountain pen for Junnosuke, who is most impressed?in part because it was delivered by Santa himself (played by the local Dr. Takuma, who lost his family during the war). Ryunosuke, however, only manages enough cash to purchase a ring case for Hiromi. But she is still pleased and insists he place the not-yet-there ring on her finger. This was her last time with Ryunosuke, because burdened by debts, she leaves the neighborhood early the next morning without telling anyone, and begins working at a dancehall.


For the New Year holidays, the Suzukis give Mutsuko train tickets as a present so that she can go home to visit her family. She refuses, however, because she thinks her parents, burdened by half a dozen children, were glad to get rid of her. Tomoe, however, shows Mutsuko the letters her mother had secretly written expressing love and concern for her daughter. Her parents’ supposed pleasure at having one less mouth to feed was just an act to encourage Mutsuko to strike out on her own.


Just around that time, Junnosuke’s real father shows up, and he turns out to be a rich businessman who had an affair with the boy’s mother. Thinking that this man can give Junnosuke a better life, Ryunosuke agrees to hand over Junnosuke, but the father’s attitude is haughty. He even throws away the pen Ryunosuke got for Junnosuke, calling it third class. After they drive away, Ryunosuke runs after them, calling out the boy’s name, but falls onto the pavement. He looks up and finds Junnosuke standing in front of him. He pushes him away, again emphasizing that they are not related. But Junnosuke refuses to leave.
All the residents of the neighborhood look towards the setting sun, going down over the now completed
Tokyo Tower
.


Notes:
Based on a comic by Saigan Ryohei that began publication in 1974, Always rode the wave of a nostalgia boom for 1950s
Japanand became a box-office hit. A sequel was made two years later. Its vision of the era is largely rose colored and matches other conventional representations of lower-class shitamachi (downtown) neighborhoods, featuring good-natured but slightly oddball characters who maintain a strong sense of community presumably lost in modern urban Japan. Always’ historical interpretation is thus nostalgic, but it is not attempting to return to the good old days. It was produced by Robot, a company often involved in special-effects works and which put considerable effort into using computer graphics to reproduce rea
listic images of 1950s Tokyo. It was also directed by Yamazaki Takashi, whose previous films have been sci-fi fantasies. The point of Always is less to realistically depict 1950s Japan, and more to provide a fantasy, on the same level of Junnosuke’s futuristic worlds, that the audience can immerse itself in. That the film does.

******************

For more information, please visit  JANL web site.

| | コメント (0) | トラックバック (0)

2009年6月 7日 (日)

北海道の どこ?

一年に一度の日本。

5img_4871

現役時代の出張以外では 初めての 北海道。

5img_4984

北海道の どこに行ったの? ・・・と聞かれても 分からない・・・

5img_5041

5月の末ごろだったんですがね・・・・ 雨で・・・ 手がかじかむ程の寒さ・・・

5img_5157

天候が荒れて オプションがふたつとも潰れてしまい・・・

でも、 オホーツク海と 「霧の」摩周湖を 「見た」? ことは記憶に残っているな・・・

ところで、 バギオからマニラに向う ビクトリー・ライナーが、バギオを出て1時間もしないところでエンコ・・・

エンジン・トラブルなの? と聞いてみたところ、「オートマチックなんだけど、コンピューターの異常で エンジンがかからん・・・・」だと・・・

しかし、ビクトリー・ライナーで良かった。 30分後にバギオを出た次のバスに空きがあったんで、それに乗り移り・・・ マニラ空港には間に合った。

| | コメント (0) | トラックバック (0)

« 2009年5月10日 - 2009年5月16日 | トップページ | 2009年6月14日 - 2009年6月20日 »