Showing posts with label koji yakusho. Show all posts
Showing posts with label koji yakusho. Show all posts

The Eel うなぎ (Unagi) [1997] • Japan

I like films with a relaxed pace but this one is slow to the point of boring and its poetic undertones are silly. The story is trite: jealous man kills his wife, goes to prison, opens a barber shop in a small village when he gets out, saves a woman from suicide, she falls in love with him, people gossip, his affection remains towards his pet eel, her baggage causes him to defend her, he goes back to jail. We've seen it all before. Nothing wrong with that, per se. There are a handful of cinematically attractive moments but not enough to make the film worthwhile.

Misa Shimizu is fetching in her high-wasted slacks but never shines. Kôji Yakusho isn't given enough script or the proper direction to make his signature introspective style come alive. All of the acting seems very stilted, about the level of Tomorowo Taguchi.

And there's something very excuse-making and just plain wrong with a film that ends several times for about a half hour. Geez.


★★★
Director: Shohei Imamura
Starring: Kôji Yakusho, Misa Shimizu, Mitsuko Baisho, Akira Emoto, Fujio Tsuneta, Tomorowo Taguchi

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Bounce Ko Gals (Baunsu ko gaurusu) [1997] (aka Leaving) • Japan

This movie was a great big surprise. A film about the world of compensated dating in Japan, made in Japan, could easily be exploitatively cheap or cheaply titillating, but Bounce Ko Gals is neither, and much to many people's chagrin, considering its subject matter, it turns out to be a sweet, sort of melodramatic film about friendship. There is no sex or nudity in the film but it is pretty insightful and blunt about such things. It's not a kids film by any means and as much as some adults might like to think its subject matter inappropriate for teens, it's pretty spot on in its portrayal of youth culture, particularly that of contemporary Tokyo.

The three teenage girls who play the leads are fantastic—all feature film debut performances. Hitomi Satô, as the tough and cynical one, owns the film every moment she's on screen. She's a leader who blasts her clients with a stun gun and robs them instead of sleeping with them. She banks on the fact that no one will ever report to the police they were robbed by an underage, would-be prostitute. Yasue Satô (no relation) is the free spirit, setting up “dates” for high school friends but never going on them herself. She street dances and suffers from "straight-line-itis", becoming nauseous if she ever finds herself walking a straight line in life, literally or figuratively. It's a hilarious schtick. And finally, Yukiko Okamoto plays the innocent one who stumbles into the world of ko girls because of a dire need to finance her education in America. She assists the film in a half-hearted attempt at finding a moral center and eventually brings things to a touching resolve.

The great Kôji Yakusho joins the three girls in the film and offers some old school perspective, adding color to the film's main theme. He plays a veteran sex trade yakusa boss who sees the teenage girls as a threat to his business but he can't help admiring their resourcefulness so a tenuous friendship ensues. He threatens the girls, because his position demands it, but he also assists them when they target the wrong people and get into trouble.

Bounce Ko Gals is a hip, fun, frank, and furious look at the, some would say uniquely Japanese, phenomenon of teenage girls who have discovered their sexual power and find very little reason not to use it even though the endgame of designer handbags and other assorted accessories might seem superficial—not to mention mind-boggling to those of a more mature bent. A straightforward approach to this subject matter results from the director's documentary style of filming, and it's got a great soundtrack. Highly recommended.

★★★★★

Eureka (Yurîka) [2000] • Japan • Shinji Aoyama

After three and a half slow paced, sepia toned hours experiencing emotional pain and anguish I still watched the credits roll. This film starts off with a man hijacking a bus and killing most everyone on it for no apparent reason. The driver and two middle school kids survive, and we spend the rest of the film watching them live with it. We watch them fall asleep watching television and other mundane matters but there is not a wasted frame in this film. There are a remarkable number of plot points to keep things moving forward but it still feels like suspended animation, like time is moving inward instead of along. Koji Yakusho is sublime and Aoi Miyazaki, at like twelve years old--and without saying a word for nearly the entire runtime--is mesmerizing. This film is a masterpiece, a journey exploring the myriad layers of trauma, of metaphorical death, and what three people endure on a path to renewal and emergence from a world of silent suffering. It will take your breath away.

★★★★★