"What A, B, C and D say to
members of their group is quite different from what they say to outsiders. Japanese
find it very easy to make this kind of shift. In trying to get along with the
person in front of them, they will say what that person wants to hear, even
though they may say something entirely different to someone else. Outsiders can't
help thinking that, because Japanese change their story depending on whom they
are speaking with, they are liars."
- Juzo Itami speaking to Mark Schilling,
1997
Sometimes, the theme of the annual Japan Foundation Touring Film
Programme (JFTFP (JFTFP!)) feels a little spurious. But this year's theme, (Un)true Colours: Secrets and Lies in Japanese Cinema, seems to be one that
works, at least if you're Juzo Itami.
A theme such as this could come with countless examples of cinematic
works, so the selection process must have been difficult to avoid selecting the
obvious; keeping the programme varied and novel enough for a UK audience.
Having already seen "After School" and "The LongExcuse" - the latter a film that shows how one's hair will get worse the
more you hide your grief - I chose a selection of this year's films that I was
able to schedule in, what with many social activities coming up (larks!).
Starting with Gukoroku - Traces of Sin, with screenwriter man Kosuke Mukai the
man in attendance.
As ever, the JFTFP (JFTFP!) is starting off at the ICA in London, but
remember, if you live in one of the following: Belfast, Birmingham, Bristol,
Chester, Colchester, Derby, Dundee, Edinburgh, Exeter, Inverness, Kendal, Leicester,
Lewes (Lewes?!), Manchester, Nottingham, Sheffield or Stirling, I feel sorry
for you...
Gukoroku - Traces of Sin
Tanaka (Satoshi Tsumabuki) is a journalist, somewhat docile, but keen
to re-open an old wound of a near-year-old murder case of a young family
butchered in their home. With his sister, Mitsuko (Hikari Mitsushima), recently
arrested for child-neglect - her three year-old daughter found malnourished -
Tanaka's boss allows him to pursue his personal interest in the story to take
his mind off his own personal problems. Though Tanaka's problems are even
greater than his persona lets on.
After the scenario is established, the film splits into two separate
story arks: Arranging meetings with people connected to the murdered couple,
Tanaka conducts a series of interviews with various former university friends
and acquaintances; while Mitsuko has numerous sessions with a psychiatrist to
establish her mental state.
Adapted from Tokuro Nukui's novel of the same name (which I, of course,
haven't read), "Gukoroku" originally used Akutagawa-style "In A
Grove" confessionals from each of those interviewed,
with director Kei Ishikawa and Mukai choosing to add in a lawyer who accompanies
Tanaka and the psychiatrist character to give the testimonies more of a rounded
story fitting for a film.
The film, therefore, has a lot going on, with the various monologues of
the individuals acted out, each recalling different past memories. This leaves
a lot of characters and scenarios, with stories within stories, creating quite
a complex narrative for the audience to follow, particularly with two separate story
arcs that gradually merge together. What starts as a murder mystery, gradually
becomes a tale of Tanaka and Mitsuko's troubled upbringing, as well as an [**SPOILER
ALERT**] incest sideline.
It's fair to say "Gukoroku" is a bleak film. None of the
confessions look back on the past with fondness, but more recollections of individuals that caused
them troubles earlier in their lives. Adultery, social deceptions, peer
pressure, failed relations and, you heard, incest all feature. The tricky
subject matter is handled fairly well, though perhaps not offering any
revelations that haven't come before. Though in terms of fitting the Japan
Foundation's central theme of deception, this is a banker, with cover-ups, and
constant deceptions to gain a better social standing for oneself.
The cinematography from Polish Piotr Niemyjski is solid throughout, with
Mitsuko's struggles in prison effectively showing her inner-torment. The
soundtrack is also strong in what is a solid film without ever getting too
close to "excellent" territory. It is interesting to see the Office Kitano ident before a film again...
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