{"id":24008,"date":"2013-07-21T17:28:48","date_gmt":"2013-07-21T22:28:48","guid":{"rendered":"http:\/\/www.davidbordwell.net\/blog\/?p=24008"},"modified":"2014-08-23T00:00:34","modified_gmt":"2014-08-23T05:00:34","slug":"the-other-kurosawa-shokuzai","status":"publish","type":"post","link":"https:\/\/www.davidbordwell.net\/blog\/2013\/07\/21\/the-other-kurosawa-shokuzai\/","title":{"rendered":"The other Kurosawa: SHOKUZAI"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Shokuzai<\/strong> (2012).<\/em><\/p>\n

DB here:<\/p>\n

This year\u2019s trip to Brussels and the Royal Film Archive of Belgium was more low-key than usual. The Cinematek’s mini-festivals were suspended this year, with\u00a0Cin\u00e9decouvertes<\/a> to resume next summer and the L\u2019age d\u2019or competition to get its own slot in the fall. The usually reliable \u00c9cran Total series at the Galeries Cinema was gone, replaced by mostly recent releases<\/a>. The Cinematek\u2019s main venue<\/a> was featuring America in the 1980s (not to be despised, but these items were familiar to me) and Antonioni, because of the current\u00a0exhibition devoted to him<\/a> in the Mus\u00e9e des Beaux-Arts. And even my archive viewing was slimmed down to only a few days, as I watched some 1940s American features too obscure even to circulate on bootleg DVDs.<\/p>\n

I wasn’t exactly bereft of choices, and I could occupy my time preparing for my Antwerp lectures on Ozu, but I was angling for something special. Luckily, our old friend Gabrielle Claes, recently retired as Director of the Cinematek, called my attention to a one-off showing of Kurosawa Kiyoshi\u2019s Shokuzai<\/em> (“Penitence,” 2012) at Cin\u00e9ma Vend\u00f4me<\/a>, a local arthouse. The bonus: Kurosawa in person! So of course Gabrielle and I went.<\/p>\n

Before and after the movie, I began thinking about his career and his place in recent Japanese film history.<\/p>\n

 <\/p>\n

Making waves in the 90s<\/strong><\/p>\n

\"\"<\/a><\/p>\n

\u00a0Sonatine<\/strong> (1993).<\/em><\/p>\n

During the 1990s a new generation of Japanese directors came to international attention.\u00a0Thanks to home video formats, as well as to a rising taste for international crime and horror films, western audiences became aware of filmmakers from many countries who unabashedly worked in low-end popular genres. The success of Hong Kong films in 1980s festivals had made programmers open to Asian pulp fictions. Soon commercial companies saw a fan market for video versions of movies that were unlikely to get theatrical distribution outside Japan.\u00a0These films changed forever the image of Japanese cinema as a refined and dignified tradition.<\/p>\n

Admittedly, Western views of Japanese film were probably too sanitized. Ozu never shrank from bawdy humor, Mizoguchi could display acute suffering, and Kurosawa\u2019s Yojimbo<\/em> and Sanjuro<\/em> were exceptionally bloody by 1960s American standards. Still, things had gotten quite wild in later years. Films that weren\u2019t widely exported, such as those exploiting juvenile-delinquency, yakuza intrigues, and swordplay, as well as the softcore erotica known as \u201cpink\u201d films, would have shown western audiences something quite surprising. In the 1980s, charmers like Tampopo, The Funeral<\/em>, and other export releases could hardly have prepared audiences abroad for the cinema of shock that was becoming common at home.\u00a0Perhaps only Ishii S\u00f4go\u2019s Crazy Family (<\/em>1984), widely circulated in Europe and America, hinted at what was ahead.<\/p>\n

The oldest provocateur was Kitano Takeshi (born, like me, in 1947), who came to directing after a solid career as a comedian. His Sonatine<\/em> (1993) established him as master of the impassively violent, disturbingly amusing gangster movie. I don\u2019t think anyone can forget Sonatine\u2019<\/em>s elevator-car shootout, which is unleashed after an awkward, semicomic passage of passengers behaving as we all do in an elevator, adopting neutral expressions and avoiding each other’s eyes. The most celebrated director of this group, Kitano influenced action filmmakers around the world and probably helped spark a revival of interest in classic yakuza pictures.<\/p>\n

Other directors were younger and got their start in more marginal filmmaking. Tsukamoto Shinya had worked in Super-8 since childhood and made his breakthrough film, Tetsuo<\/em> (1989) in 16mm, which became a cult hit on worldwide video. Soon Tetsuo II<\/em> (1992), Tokyo Fist<\/em> (1995), Bullet Ballet<\/em> (1998), and other films showcased a frenetic, assaultive style that was the cinematic equivalent of thrash-rock. Miike Takeshi made several V-films before he hit international screens with Audition<\/em> (1999), and soon his earlier theatrical releases Shinjuku Triad Society<\/em> (1995) and Fudoh: The New Generation<\/em> (1996) became staples of cult screenings and video collecting. Miike pushed things over the edge. Even Kitano did not dare to show a schoolgirl assassin firing deadly darts from her vagina.<\/p>\n

\"\"<\/a><\/p>\n

I don\u2019t mean to suggest that these directors were sensationalistic all the time. Miike made children\u2019s films, a discreet heart-warmer (The Bird People in China<\/em>, 1997), a mystical drama (Big Bang Love Juvenile A<\/em>, 2005), and classical swordplay sagas (Thirteen Assassins<\/em>, 2010). Kitano developed his interest in prolonged adolescence through sentimental drama (A Scene at the Sea<\/em>, 1991), Chaplinesque road movie (Kikujiro<\/em>, 1999), symbolic pageant (Dolls<\/em>, 2002), and self-referential absurdity (Takeshi’s<\/em>, 2005, and others). Still, these two directors have often returned to the downmarket genres that launched their reputations.<\/p>\n

Nor do I want to suggest that all the filmmakers emerging to wider awareness at this time were roughnecks. Kore-eda Hirokazu began his career in documentary films, followed by the solemn, elemental\u00a0Maborosi<\/em> (1995). Kawase Naomi, one of Japan\u2019s few women directors, won acclaim with the sensitive rural drama Suzaku<\/em> (1997), and Suo Masayuki became a top-grossing export with his satiric comedies Sumo Do, Sumo Don\u2019t<\/em> (1992) and Shall We Dance?<\/em> (1996). Yet Kore-eda, widely respected for his nuanced family films, made a movie centering on a sex dolly (Air Doll<\/em>, 2009), and Kawase had worked for years on autobiographical documentaries dealing bluntly with family tensions, old age, and women\u2019s oppression. Suo\u2019s debut was a pink film called Abnormal Family: My Older Brother\u2019s Bride<\/em> (1984) in which an affectionate parody of Ozu\u2019s style was used to present copulation, teenage sex work, and a golden shower.<\/p>\n

In sum, in Japan the distance between serious art and more sensual, not to say shocking, cinema isn\u2019t that great. To take a more recent example, who would have expected that the director of the quiet, deeply moving Departures<\/em> <\/a>(2008; Academy Award, Best Foreign-Language Film) would have learned his craft in a series centering on men who grope women on commuter trains? (Sample title: Molester\u2019s Train: Seiko\u2019s Ass<\/em>, 1985.)<\/p>\n

 <\/p>\n

Mysteries, mundane and supernatural<\/strong><\/p>\n

\"\"<\/a><\/p>\n

Shokuzai.<\/em><\/strong><\/p>\n

Kurosawa Kiyoshi\u2019s career fits the trend I\u2019ve sketched. Born in 1955, he started with pink films and V-cinema, but the theatrical release\u00a0Cure<\/em> (1997) won festival berths and international distribution. It presents the now-familiar mixture of mystery story and supernatural tale, in which a detective with personal problems investigates serial killings and begins to suspect that the murders are performed under some mesmeric influence. In Charisma<\/em> (1999) the supernatural elements dominate, as a police officer tries to understand the powers of a tree that can magically regenerate itself. Pulse<\/em> (2001) locates the otherworldly forces in the Internet, where ghosts take over people\u2019s lives and eventually lead humans to flee Tokyo.<\/p>\n

Kurosawa\u2019s films became perhaps too quickly identified with what was known as J-horror. His taut, slowly unfolding plots and calm but menacing style did have something in common with the Ring<\/em> series (1998-2000) that was becoming popular at the time. At the same time, Kurosawa draws on a some story elements common across Asian crime and horror films: \u00a0revenge, often by a parent or elder figure in the name of a lost child; the suggestion that childhood, especially that of girls, has a corrupt and sinister side; and a sense that modern technology such as computers and cellphones harbor demonic threats. But I think that his films were more thematically ambitious, even pretentious, especially in the case of Charisma,<\/em> with its ambiguous ecological symbolism. And like his peers, he wasn\u2019t interested only in suspense and shock. His mainstream family drama Tokyo Sonata<\/em> (2008) attracted western viewers with no knowledge of his spookier side.<\/p>\n

The policier<\/em> aspect is evident from the start of Shokuzai<\/em>. Originally a five-part TV drama broadcast in weekly installments, it starts with the rape and murder of a schoolgirl, Emili. Her four playmates have seen her attacker ask her to leave the playground with him, so when she\u2019s found dead, the police and Emili\u2019s mother Asako press the girls to identify him. Through fear or trauma, none of the girls can remember what he looked like. Asako summons all four to her home and demands penitence\u00a0from them in the future\u2014in ways each one must find for herself.<\/p>\n

\"\"<\/a><\/p>\n

After this prologue, Shokuzai<\/em> downplays supernatural elements in favor of character studies of the four surviving girls, with a \u201cchapter\u201d devoted to each. The young women live separate lives and their paths don\u2019t intersect; only the implacable Asako reappears in each thread. By the final installment, Asako has more or less given up tracking the killer, but when one young woman accidentally recognizes him, on TV, Asako pursues him and discovers the roots of the crime in her own past.<\/p>\n

This is pretty much modern thriller territory, with a whiff of Barbara Vine\/Ruth Rendell in the film\u2019s effort to trace how a single event resonates terribly through innocent lives. As with such thrillers, the strength of Shokuzai<\/em> seems to me to lie largely in characterization and atmospherics. Each young woman is given a distinctive personality, and each one\u2019s professional and personal life fifteen years after the crime is presented with a teasing, hypnotic deliberation. Sae is a meek, sexually immature nurse who is lured into marriage with a rich former schoolmate; his seemingly harmless obsession turns domineering. Maki becomes a schoolteacher herself, and her relentless, demanding methods soon antagonize the local parents\u2014until she unexpectedly proves herself heroic. Akiko has become a hikikomori<\/em>, a recluse, and is only briefly drawn out of her drowsy existence by the daughter of her brother\u2019s girlfriend. The good-natured little girl in effect reintroduces Akiko to childhood. In the penultimate chapter, the sexual bargainer Yuka seeks to seduce her brother-in-law and to take revenge upon her sister for being their mother\u2019s favorite.<\/p>\n

Each young woman is associated with an object or gesture seen in the prologue: a French doll, a bloody blouse, a policeman\u2019s kindly squeeze on the shoulder. At one level, these bits of the past take on psychological impact. The trauma around Emili’s death suggests sources of the grown-up women\u2019s neurotic behavior.\u00a0Maki, the girl who after the killing rushes frantically through the school looking for someone in authority, becomes an all-controlling schoolteacher.\u00a0Akiko\u2019s bloody school blouse will find its fulfillment in a brutal crime involving a girl\u2019s toy.<\/p>\n

Yet these associations carry extra resonances. It\u2019s partly because of the quietly ominous way Kurosawa films commonplace objects like a ruby ring or a jump rope. Maybe there is a whiff of the supernatural after all, given the unexpected connections revealed between the men in the women\u2019s later lives and the little girls\u2019 fetishes and rituals. Fate plays such cruel tricks that it might as well be malevolent magic.<\/p>\n

The demand for expiation and the mother’s implacable intervention in an investigation will remind many viewers of Bong Joon-ho\u2019s Mother<\/em>\u00a0(2009, South Korea) and Nakashima Tetsuya\u2019s Confessions<\/em> (2010). Asako’s characterization gets fleshed out in the fifth episode, which presents two crucial flashbacks leading up to the crime. One even replays a moment leading up to the murder, supplying a previously withheld reverse-shot in the manner of Mildred Pierce<\/em>\u2019s replay<\/a>. (Some things don\u2019t change.)<\/p>\n

\"\"<\/a><\/p>\n

Presumably the recurring flashbacks to the prologue were also motivated by the rhythm of the weekly TV broadcasts. Viewers couldn\u2019t be expected to recall everything from earlier installments.<\/p>\n

You can object, as critics have, that the revelations in Shokuzai<\/em>\u2019s finale are creaky and far-fetched. Ra\u00fal Ruiz, in Mysteries of Lisbon<\/em>, embraces the arbitrariness of old-fashioned plotting<\/a>, with its felicitous accidents, secret messages, and hidden identities. He scatters these devices freely throughout his story, making them basic ingredients of his film\u2019s world. Instead, Kurosawa introduces most such devices at the last minute, which makes them more surprising but also more apparently makeshift. Still, you can argue that once you eliminate purely supernatural causes for the creepy things we see and hear, audiences will embrace convoluted plots (as again, in Confessions<\/em>) to rationalize their thrills. As so often in popular narrative, no coincidence, no story<\/a>.<\/p>\n

 <\/p>\n

Quiet elegance<\/strong><\/p>\n

\"\"<\/a><\/p>\n

Kurosawa uses long takes, fairly distant framings, and solemn tracking shots to heighten an atmosphere of dread. The questioning of the children is played out in an extreme long shot, refusing exaggeration but conveying very well the flat, obdurate refusals confronting the cop.<\/p>\n

In the Q & A after the screening, Kurosawa explained that he didn’t alter his filming style much for the television series, although he found himself writing more dialogue than he would have included in a theatrical feature. His \u00a0visual technique displays a dry, precise elegance–the Japanese might say it possesses shibui<\/a><\/em>— and it has, as far as I know, no equivalent in current American cinema. The compositions are painstakingly exact, though they’re not as rigidly geometrical as Kitano\u2019s planimetric images<\/a>\u00a0and they don’t self-consciously evoke Ozu<\/a> in the way Suo’s do.<\/p>\n

Everything lies in plain sight. The bright, saturated tones of the childhood prologue contrasts sharply with the wan color schemes throughout the present-day sequences.<\/p>\n

\"\"<\/a>\u00a0 \u00a0 \u00a0\"\"<\/a><\/p>\n

Kurosawa’s staging has a clarity and point that’s rare today. He often lets significant action unfold without interruption. For example, in Yuka’s flower shop, he gives us a shot lasting nearly a minute. Yuka’s sister has come to voice her suspicion that her husband has had sex with Yuka. Kurosawa moves the two women around the frame discreetly, sometimes hiding their facial reactions, and using the Cross<\/a>\u00a0to shift their positions both laterally and in depth. A single step forward can mark rising tension as the sister demands an explanation, and a retreat from the foreground can create a mini-suspense about Yuka’s reaction.<\/p>\n

\"\"<\/a>\u00a0 \u00a0 \u00a0\"\"<\/a><\/p>\n

\"\"<\/a>\u00a0 \u00a0 \u00a0\"\"<\/a><\/p>\n

After hiding Yuka’s reaction in the distance, Kurosawa creates a mini-climax by having her turn abruptly to the camera before bending over and sobbing.<\/p>\n

\"\"<\/a>\u00a0 \u00a0 \u00a0\"\"<\/a><\/p>\n

Kurosawa saves the cut, as David Koepp might say<\/a>, in order to ratchet the drama up. In a closer view we can watch the sister, ashamed of her suspicions, consoling Yuka and succumbing to her lies.<\/p>\n

\"\"<\/a>\u00a0 \u00a0 \u00a0\"\"<\/a><\/p>\n

Contrary to what proponents of intensified continuity<\/a> will tell you, you can build an engrossing scene without fast cutting, tight close-ups, and arcing camera movements. Like American directors of the studio era, Kurosawa always knows the best place to put the camera, and he keeps things simple and direct.<\/p>\n

Kurosawa’s patient, compact staging has its counterparts in the work of Claire Denis, Manuel de Oliveira, and many other European filmmakers. It’s just that it’s a bit unexpected in the 1990s Japanese iconoclasts. For all their self-conscious extremism, they have wound up reinvigorating certain classic techniques of cinematic expression. This is just one of many reasons to catch Shokuzai<\/em> on a screen, big or little, near you.<\/p>\n

\n

You can see some trailers and extracts from Shokuzai<\/em> here<\/a>, but you have to sit through a wretched Peugeot ad every \u00a0time.<\/p>\n

Shokuzai<\/em> is coming to the Vend\u00f4me<\/a> on 24 July.<\/p>\n

On the earthy side of Japanese culture, which I think feeds into the 1990s trends I’ve mentioned, see Ian Baruma’s Behind the Mask<\/em><\/a>.<\/p>\n

P.S. 23 July 2013:<\/strong> Adam Torel of the ambitious Third Window Films<\/a> writes to tell me that the company is releasing Eyes of the Spider<\/em> and Serpent’s Path<\/em> on DVD in September. Third Window distributes other recent Japanese films, including items by Miike and Tsukamoto.<\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Shokuzai (2012). DB here: This year\u2019s trip to Brussels and the Royal Film Archive of Belgium was more low-key than usual. The Cinematek’s mini-festivals were suspended this year, with\u00a0Cin\u00e9decouvertes to resume next summer and the L\u2019age d\u2019or competition to get its own slot in the fall. The usually reliable \u00c9cran Total series at the Galeries […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[84,12,5,59,23],"tags":[],"class_list":["post-24008","post","type-post","status-publish","format-standard","hentry","category-film-genres","category-film-history","category-film-technique","category-technique-staging","category-national-cinemas-japan"],"_links":{"self":[{"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/posts\/24008","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/comments?post=24008"}],"version-history":[{"count":36,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/posts\/24008\/revisions"}],"predecessor-version":[{"id":29114,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/posts\/24008\/revisions\/29114"}],"wp:attachment":[{"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/media?parent=24008"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/categories?post=24008"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/tags?post=24008"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}