Same. One of the few things that disappointed me about the game is it often felt like the dialogue options for him were … a little lacking. And I don’t mean in the same general way they were lacking for *all* the men because you couldn’t romance them. Though, of course, I romanced most of them in my heart. I mean lacking in that, all too often, none of the options felt very nice to Mishima. Sometimes, it felt like I had to choose between being condescending or patronizing or mocking.
Let me be kind to him, damn it! He deserves genuine praise, gentle encouragement, and peck on the cheek! Maybe he wouldn’t have had his power trip in the first place if the guy he admired and wanted to help had had more options than to act like he was too cool for him.
“Tarkovsky was sitting in the corner of the screening room watching the film with me, but he got up as soon as the film was over and looked at me with a shy smile. I said to him, “It’s very good. It’s a frightening movie.” He seemed embarrassed but smiled happily. Then the two of us went to a film union restaurant and toasted with vodka. Tarkovsky, who does not usually drink, got completely drunk and cut off the speakers at the restaurant, then began singing the theme of Seven Samurai at the top of his voice. I joined in, eager to keep up. At that moment, I was very happy to be on Earth.”
— Akira Kurosawa, on watching “Solaris” with Andrei Tarkovsky.
Can movement tell a story? Sure, if you’re as gifted as Akira Kurosawa. More than any other filmmaker, he had an innate understanding of movement and how to capture it onscreen. Join me today in studying the master, possibly the greatest composer of motion in film history.
One of Akira Kurosawa’s many gifts was staging scenes in ways that were bold, simple and visual. I’m working on a longer essay about him and this piece didn’t make the cut, so here it is as a standalone video. Thanks for watching!
Obviously, all of us are into anime. But how many of us are into Japanese cinema that does NOT involve high school students saving the planet from giant alien robots?
In their Saturday evening panel Japanese Cinema 102: Where to go After Kurosawa, hosts Liz and Zod shared their list of the best Japanese directors–and titles–this side of famed filmmaker Akira Kurosawa. Here is just a sampling of their recommendations.
Yasujiro Ozu This postwar filmmaker is noted for his very intense films that stay with the viewer long after seeing them. Film critics consider him just as iconic as Kurosawa.
Tokyo Story (Ozu’s most well-known work in North America)
Tokyo Twilight
Early Spring, Late Spring, End of Summer (trilogy)
Shohei Imamura Born into an upper-class family, Imamura found himself dealing with Japan’s black market following World War II. As such, he gained an appreciation for the country’s underground culture that is reflected in his work.
Pigs and Battleships (this explores the strained relationship between the U.S. and Japan after the war)
Insect Woman
Intentions of Murder
Seijun Suzuki
An artist with an eye for style, Suzuki tends to lean toward yakuza fare in his work. Considered a cult filmmaker in Japanese society, noted American directors like Jim Jarmusch and even Quentin Tarantino have cited him as inspiration.
Branded to Kill
Gates of Flesh
Lupin III: Legend of Gold Babylon (yes, he was one of many directors to tackle Lupin III)
Takashi Miike
Dubbed by Zod the “James Patterson of directors,” Miike is notable for putting out a slew of movies every year. As a result, his library is vast, varied, and the most accessible for North American audiences.
Audition
Ichi the Killer
Jojo’s Bizarre Adventure (yes, he is behind the 2018 live-action version of the popular manga and anime)
Hirokazu Kore-eda
Dubbed by Roger Ebert as the “heir to [Yasujiro] Ozu,” Kore-eda is noted for being empathetic and really digging into the lives of his characters, many of whom tend not to live the best lives.
Maborosi
Nobody Knows
Shoplifters (this title earned him the Academy Award nomination for Best Foreign Language Film at this year’s Oscars)
In addition to directors with storied bodies of work, Liz and Zod also shared some titles that fans of Japanese cinema would definitely take to.
Godzilla (Ishiro Honda) - Do I even need to explain this movie? Hausu (Nobuhiko Obayashi) - A supernatural horror film that is unlike anything else in the genre, in Japan or any other country. How many characters in horror flicks have gotten eaten by a haunted piano? Kamikaze Girls (Tetsuya Nakashima) - Unlike most other entries on this list, Kamikaze Girls is a sweet film that will leave its viewers with a warm feeling. Liz even shared an anecdote about a former roommate who, despite not being into Japanese cinema at all, absolutely adored this picture.
