A while ago – my reviews this year have been scattershot at best – I wrote a quick piece on The Vampire Doll, an odd Japanese horror film from 1970 that was the first of three loosely related, vampire-themed films Toho made in the early ‘70s. I didn’t particularly care for The Vampire Doll, and it took me a while to get around to watching the remaining two films: Lake of Dracula (1971) and Evil of Dracula (1974). Like The Vampire Doll, they’re both directed by Michio Yamamoto, and all three feature a writing credit for Ei Ogawa. Unlike The Vampire Doll, these two films are actually about vampires!
One of my favourite things to do recently is find cinemas screening older films I either missed the first time around or that I never had a chance to see on the big screen. Often this coincides with a big anniversary for a film, which means I had a chance to catch Alien for its 40th anniversary and Die Hard for its 30th. We’re just past the 20th anniversary of Hideo Nakata’s 1998 adaptation of Ring and Arrow Films have put out a stunning new restoration in collaboration with the original filmmakers. I picked up the box set they released that includes Ring 2, Ring Zero and the lesser seen Rasen/Spiral and while I haven’t checked them all out yet, I did manage to catch Ring at my usual cinema.
I ought to write up my experience revisiting the film after nearly twenty years – I’m fairly sure I haven’t seen it since the early 2000s, when I would have watched it on an old CRT. It’s perhaps the rare film that loses something in being on a giant screen, kind of the opposite of Tampopo and its wonderful opening sequence looking out from the ‘screen’ into an ’80s Japanese movie theatre. Even watching it at home on a Blu-Ray and a flatscreen television wouldn’t have the same impact. Whether or not I get around to writing a review, Dan Martin and Sam Ashurst of the Arrow Video Podcast have a great discussion of the film that I would highly recommend.
Every now and again I stumble across a film whose premise is so fascinatingly odd that I just have to see it. Japan’s Toho studio reacting to the success of British Hammer horror in the 1960s and putting out a loosely connected trilogy of Dracula-inspired vampire films? Sign me up. Like many of the more oddball Japanese titles I watch this came via Arrow Films, who put out a Blu-Ray collecting all three of the so-called ‘Bloodthirsty Trilogy’. I picked it up when I saw it in the January sales and then promptly forgot about it until indecisively browsing for something to watch on a chilly February night. This long-winded preamble to me sitting down to watch The Vampire Doll (1970) is, sadly, probably more entertaining than the film itself.
I’m not sure when I first heard of Shinichiro Ueda’s One Cut of the Dead (2017) but it quickly grew to be one of my most anticipated Japanese films, and I watched it creep up the UK from London festival by festival until it finally arrived in Leeds. I’d heard all kinds of good things about it: that it was an excellent zombie comedy, that it featured an extremely long single take shot – the ‘one cut’ of the title. The praise was so effusive I was determined to see it, but I still didn’t really know what to expect. The rough plot outline that I had heard, and that I will share here again, is that a low budget zombie horror film is interrupted by actual zombies and the director is determined to incorporate the real attacks into his film – in Japanese, the title is カメラを止めるな！ or ‘Don’t stop the camera!’. While that’s a wonderful title, it only scratches the surface of what makes One Cut of the Dead great.
It’s that time of year again: November approaches, and with it, the 32nd Leeds International Film Festival. Last year was in part a celebration of Japanese director Takashi Miike hitting his 100th feature film with Blade of the Immortal, and I wrote about the many other Japanese films featured that year. Then, flu struck me down, and I still haven’t caught up on Miike! This year I’m armed with a flu jab and a fresh copy of the festival’s programme. Let’s take a look at the Japanese cinema exhibiting this year:
Dir. Tadashi Nagayama
Caring for his uncle with dementia, Taka lodges in an idyllic thatched cottage in the countryside. When the uncle’s son Mitsuaki returns, his quiet life of caring and bongo-playing seems in doubt, until he and childhood friend Sho are reunited in friendship. But unwelcome visits by a nature-obsessed family from Tokyo threaten to overturn this bucolic existence. At heart a gentle pastoral comedy and satire of romanticised country life, in the hands of Tadashi Nagayama (director of 2016’s Journey of the Tortoise), events start to take a very unexpected direction.
Dir. Shinsuke Sato
From the original manga and anime series comes a brand new live action sci-fi superhero showdown from Shinsuke Sato. The ineffectual father of an uncaring family and with even more bad news on the way, Inuyashiki is suddenly struck by a mysterious explosion, awaking to discover his body has acquired fantastically powerful robotic innards. Unsure of the extent of his abilities, but resolving to do good, he is unaware that a teenager, Shishigami, was also caught in the same explosion. Shishigami may have similar powers, but he harbours more psychopathic tendencies.
Dir. Mamoru Hosoda
From acclaimed director Mamoru Hosoda (Summer Wars, Wolf Children), Mirai is a daringly original story of love passed down through generations. When four-year-old Kun meets his new baby sister, his world is turned upside down. Named Mirai (meaning ‘future’), the baby quickly wins the hearts of Kun’s entire family. As his mother returns to work, and his father struggles to run the household, Kun becomes increasingly jealous of the baby. Mirai is a sumptuous, magical and emotionally soaring adventure about the ties that bring families together and make us who we are.
Dir. Shin’ichirô Ueda
Hack film director Higurashi (whose motto is ‘fast, cheap, but average’) is hired to make a zombie film in an abandoned WWII Japanese facility, allegedly used for human experiments by the military. In the middle of the shoot they are attacked by real zombies, much to the delight of the director who is determined to include the carnage in his film. Opening with an epic 37 minute single take, this low budget film challenges the tired genre and delivers a truly unique fast-paced, laugh-out-loud, meta-as-possible zombie comedy.
One Cut of the Dead was one of my ‘dream picks’ for the festival since hearing about it a few months back. It played at Frightfest in London, then in the fantastically named Abertoir horror festival in Aberystwyth, then Nottingham – I had my fingers crossed it would finally work its way up to my home town. When it didn’t make the highlight reel at the programme launch event I was disappointed, but here it is! Squirrelled away in the annual ‘Night of the Dead’ marathon.
Dir. Hiroyasu Ishida
In this debut anime feature from Hiroyasu Ishida, Aoyama is a serious 10 year-old boy who records all of his day-to-day experiences in his notebook. One day in May, penguins inexplicably appear in his home town, despite it being located a long way from the sea. When Aoyama sees ‘Big Sis’ drop a soft drink can which inexplicably turns into a penguin, he decides to investigate and resolve the mystery behind these strange events.
Dir. Hirokazu Kore-eda
Winner of this year’s Palme d’Or, this deeply rich story of a deeply poor family will steal your heart. On wintry Tokyo backstreets, a man and his young boy are doing the shopping for the household – their practiced shoplifting routine yields food for everyone. Going home they spot a hungry little girl and before long the family has extended to six – poor but loving, and often joyful. From the director of Like Father, Like Son and Our Little Sister comes his most beautifully satisfying film yet.
Dir. Juzo Itami
Trucking stranger Goro rides into town and takes shelter in a failing out-of-the-way ramen restaurant. He takes pity on the downtrodden proprietress Tampopo, and with a diverse team of local noodle, broth and topping experts sets out to turn Tampopo’s tired old joint into the finest in Tokyo. Into this light soupy story many satirical ingredients are mixed: Tampopo’s buffet of deliciousness riffs on Japanese corporate culture, internationalism, domestic relations, cinema and always sex. One of the best Japanese films of the 1980s, Tampopo is impossible to watch without dreaming of hearty post-movie eats.
I was such a huge fan of A Taxing Woman that I really wanted to track down some more of Itami’s films, and as Tampopo is one of the few with a readily available Western release, it’s high on my list. I’ve put it off and put it off, though, and here comes two opportunities to see it in Leeds. The first at the film festival, and then in a “Ramen & a Movie” screening at The Reliance!
Dir. Kôichirô Miki
‘I am a cat. As yet, I have no name’. So begins the chronicles of Nana, a stray cat who has adopted its own master, Satoru, as he sets out to revisit friends from his past, with a request that Nana doesn’t yet understand. Partly narrated by Nana herself and based on the enormously successful Japanese novel by Hiro Arikawa, The Travelling Cat Chronicles is a humorous and tender exploration of how small acts of kindness and sacrifice can make a difference in the unexpected events of people’s lives.
Despite warnings from hermit Old Man Lucky –Monkey, Bobby, his friend Akkun and Derrick the cat explore the local mountains, where they discover a mysterious alien invasion-themed amusement park. Little do they or we know the truly deranged horror and grotesquery awaiting these innocents. Filmed live in ‘Geki-mation’ – painstakingly hand-painted cardboard cutouts with in-camera effects – this colourful fairytale aesthetic erupts in a torrent of grotesque mutilation, child-robot hybrids, bodily fluids and forest animals. A uniquely entertaining, disturbing and unforgettable film.
That covers all the Japanese feature films at this year’s festival, but I wanted to mention one South Korean entry in particular. It’s based on a short story by Japanese novelist Haruki Murakami.
Dir. Chang-dong Lee
The new film from leading Korean director Lee Changdong (Oasis, Poetry) took eight years to arrive but it was more than worth the wait, stunning critics at Cannes Film Festival this year. A beautifully-crafted mystery thriller based on a short story about obsessive love by Haruki Murakami, Burning starts out as a story about a deliveryman who cares for his girlfriend’s cat while she goes away to Africa. Then she returns with a stranger.
Of course, there’s more to the festival than Japanese film. There are some big, mainstream films getting early showings, like Widows and The Old Man & The Gun, stunning documentaries like Genesis 2.0 and Welcome to Sodom, and plenty more that I’ve only skimmed over. As well as catching several of the above Japanese films, I’ve already grabbed tickets for Sorry to Bother You on the opening night, and a screening of Dredd as part of the festival’s “Timeframes” collection of films taking place over a single day. What will you be seeing?
This year, I’m spending the month of October celebrating the horror genre with a #31DaysofHorror or #Shocktober-style run of horror films. At the end of the first week I’m a little behind schedule, with an eye on catching up over the weekends, but I’ve already bagged my first Japanese horror of the season: utterly mad cult classic House (1977), the debut feature film of Nobuhiko Obayashi. Ostensibly a horror film Toho demanded after the success of Jaws in 1975, House (or Hausu, to give it its Japanese pronunciation) is most definitely not a straightforward suspense-horror film akin to the Spielberg movie that triggered its creation. Instead, it’s a completely surreal sequence of events and images that more-or-less tells the story of a gaggle of teenage girls who visit a countryside mansion in Japan before falling prey to the old woman who lives there and the diabolical house itself. Obayashi, who developed a series of experimental films through the 1960s, imbues House with a non-stop cavalcade of visual tricks, weird FX shots, dissonant audio that overwhelms the senses. Rarely good, but never boring, House is the kind of cult film that simply must be seen to be believed.
Some time in the last few years I got a lot less picky about what kind of films I would watch. I think it happened when I started massively ramping up the number of films I watch in general. While I might sink tens of hours into a game and would want that time to be well spent, a film is usually over in a couple of hours, and if I didn’t like it, I’d probably be watching another film later that week – perhaps even later that day. And as I’ve written before, even if I walk away from a film disappointed, there’s probably still something that I can take from it. Wolf Guy (1975) is just such a film. I wanted something ‘special’ for the 100th film I was going to watch in 2018 and after spending some time trying to decide on an unseen classic or an old favourite, I decided I’d procrastinated enough on the decision and just grabbed the most bonkers-looking Arrow Video release off my shelf that I’d yet to watch.
Kiyoshi Kurosawa is a fairly prolific director and, at the time of writing, I have only seen four of his many films. His work seems to be getting some new attention here in the UK with a slew of releases from Arrow Video and Eureka! Masters of Cinema. The latest entry is Cure (1997), a crime thriller with a strong undercurrent of horror. It stars Koji Yakusho (Shall We Dance?, 13 Assassins) as Detective Takabe, a haggard cop following serial copycat crimes. In each case, the killer carves an X into the victim’s throat, but no one can work out why the killers are choosing this very particular methodology when that information was never made public. Along with psychologist Sakuma (Tsuyoshi Ujiki), Takabe pursues increasingly unusual explanations for the phenomena.
Director Shunya Ito returns with his final entry in the Female Prisoner Scorpion series with Female Prisoner Scorpion: Beast Stable (1973). Loosely picking up where Jailhouse 41 left off, Meiko Kaji’s escaped convict Matsushima, aka the titular Scorpion, is on the run and still doggedly pursued by the police. Taking place largely outside of any actual prison and in an urban setting would already give the movie a different feel to its predecessors, even Jailhouse 41 that also prominently featured an escape attempt, but Ito also gives Beast Stable a far stranger, more horror-oriented tone than his earlier entries. At times, it feels more like watching something as surreal as Blind Woman’s Curse – not coincidentally, also starring Meiko Kaji. So different is the tone that in the back of my mind I knew that Ito didn’t direct all four Female Prisoner Scorpion movies and I found myself wondering if this, and not the final #701’s Grudge Song, was the movie he skipped.
Veteran director Kiyoshi Kurosawa (Sweet Home, Creepy) has built a career dipping in and out of the crime and horror genres. It would be easy to dismiss Pulse (2001) as another relic from the age of late-90s J-horror that coasted in on the success of Ring, replacing that film’s cursed VHS premise with a fear of the early internet age. Instead, Pulse is a different beast altogether, with a wildly different tone of creeping, quiet apocalypse and a totally different approach to its scares.