The information you found out about Studio Ghibli’s framerates was really interesting! Nice job pointing out that No-Face absorbs the emotions of those around him too. I didn’t really notice that while I was watching. Your take on Yubaba is pretty thought-provoking as well, I agree with what you’re said about her being caught up in the system.

Spirited Away

Hayao Miyazaki’s Spirited Away is a heartwarming tale about a girl’s adventure into the spirit world, full of ripe commentary on themes of capitalism and Westernization. I haven’t seen this movie since I first watched it as a four-year old, so it was interesting to see that No-Face was not nearly as scary as he was in my preschool mind.

Initial Reactions

This movie was crafted beautifully, and each frame looked like it was painstakingly labored upon to get the minute details in each shot. There is no motion blur to stitch together frames, and this causes the viewer to be able to key in on how artistic this whole thing is. You can probably pause at any moment in this movie and not see any weird motion or anatomically wonky people.

However, something interesting to also note that adds onto this is the framerate and how Studio Ghibli sometimes will hold frames. Something I noticed in the movie, especially when comparing it to other anime films (Akira, I’m looking at you), is that it felt sort of rigid at some points, especially since the lack of motion blur made it harder to connect each frame. Doing a little research, I found that some Japanese companies will employ what is called “Koma-uchi” (example video below, and spelled コマ打ち for all you little weebs who want to dig deeper), where they will hold an image for two or three frames instead of the usual one. This was originally done as a cost-saving measure, but over time it grew appeal as feeling more artistic and also sometimes giving a more natural feel than higher framerates. Studio Ghibli employs this variable timing, and as a consequence Spirited Away drops into lower framerates, getting as low as 8fps. Not that I’m complaining, I don’t mind looking at these beautiful images for an extra fraction of a second.

Themes/Analysis

The major message in this film is a critique on modern-day capitalism and the greed that stems from it. For starters, the whole reason Chihiro and her family got into this mess is because her parents decided to indulge themselves on food that wasn’t their own and assuring that they’d be fine because the dad has “credit cards.” Adding on to this, No-Face absorbs the emotions of the people around him, and when he enters the bathhouse he absorbs the greed that everyone has to the point where he starts eating other people. Something interesting to think about as well is how Zeniba contrasts against Yubaba, and how the latter became so embroiled in money. This leads me to believe the major antagonist film is not Yubaba, but instead the system that put her at the top and perpetuates this culture of monetary gain at the expense of others.

Final Thoughts

This is a great movie. Not my personal favorite anime (hats off to Akira for being tooo good) but the message, the worldbuilding, and the whimsicality of it all leads this to be, at minimum, on the Mt. Rushmore of animated films.

Miyazaki – Spirited Away

I don’t remember when exactly I first saw Spirited Away, but I remember being approximately elementary school age. Since, it had been so long I didn’t remember much about the plot and in turn I was really looking forward to watching it again. Though, because Spirited Away remains relevant to this day in pop culture, I was still familiar with the characters and the general premise. It didn’t disappoint in the slightest and I was thoroughly impressed with how high quality the animation was for being released in 2001. It was a bit shocking to realize that it’s over 20 years old despite looking like it could have been released recently. Knowing this high quality was most likely due to the fact that it’s mostly/all 2D hand-drawn animation, I became interested in finding out a little more about the processes. In my research I found out that Studio Ghibli has stated that in 2020 they currently had 60 animators and with a team of that size they are only able to come up with one minute of animation per month. Meaning a year equates to only 12 minutes worth of a movie (Spirited Away Changed Animation Forever. Here’s How | Time). Learning that was insane – I knew this kind of animation is especially difficult and often takes a long time, but I had no idea how long it actually took.  

Also, Spirited Away was a little darker than what I remember it being. I was thinking about, in the beginning, when Chihiro’s parents turn into pigs how that would probably be pretty scary to little kids, though I don’t think I remember being scared from watching this movie when I was younger. The storyline is straightforward and simple, but it’s excellently done, from the visuals to the voice acting and the soundtrack.  

I like how the antagonist-like characters aren’t entirely “evil” either. Yubaba allows Chihiro to work at the bathhouse despite being human and keeps her promises to her. And though No-Face causes trouble at the bathhouse by eating people (and excessive amounts of food) under the guise he was paying in gold; he ends up throwing up everyone unharmed and finding a nice place to belong at Zeniba’s house. Gluttony was definitely the most emphasized sin to me in this movie, with Chihiro’s parents and No-Face. With two of the characters being river spirits, a dialogue about the real-world issue of pollution was introduced too.

I like your comparison of the dialogue to a trainwreck - that’s exactly how I felt about it too. I agree that it was nice to see a movie just have fun with what it was doing. Overall, I’m glad we got to see something like this in class due to its uniqueness.

Suriyaki Western Django

This movie was a fever dream. It had next to no quality to its name and was beautiful nonetheless. I think Quentin Tarantino’s appearance in a western just about summarizes the cultural slugfest this film wants to take you through. It refuses to take itself seriously and its self awareness really allowed me to just sit back and laugh. This film really is a hot mess in in truest form through its ridiculous sets, dialogue, and hilariously stereotypical western character tropes. 

The writing was probably the most interesting aspect of the film to me. It paradoxically felt so alien that it became hypnotic. Comparable to witnessing a trainwreck and not being able to look away. In a way, this film is almost genius in its mocking of the idea westerns exclusively belong to American culture. The film title itself incorporates American, Japanese, and Italian words to highlight the hotpot of cultural influences and criticize the idea of rigid cultural gatekeeping. That said, this movie really just wants to have fun. It indulges in a plethora of iconic tropes and shots in film and has an elegant ridiculousness to it. It really embodies giving the viewer an experience through invoking a beautiful appreciation from within. It’s able to poke fun at stereotypes and cultural cornerstones without it bring taken in a serious or offending way. While on the surface incredibly campy, this film’s self-assuredness makes it feel smart as if its non-chalant attitude to appear with any semblance of quality elevates to interesting cultural influence. Maybe most importantly, it’s funny! If it missed the mark in the comedic department this film would just be one long eye-roll that feels like a cash-grab or cheap attempt at relevancy but its humor ensures it is a good time. 

Suriyaki Western Django is unironically good. Its intentional campiness allows you to both laugh and consider the absurdity of obsession with film tropes and cultural imprints. It seems to bite off more than it can chew at times occasionally going so hyper-referential it loses the point but I didn’t really mind. Do not take it seriously and it is actually a semi-interesting piece of cinema. 

and i mean… come on there’s tarantino

Miike – Sukiyaki Western Django

I was a bit uncertain about how I was going to feel about Sukiyaki Western Django as I’m not a fan Westerns at all, but this film surprised me. I wouldn’t say I entirely liked it; however, it was better than I thought it was going to be. It’s biggest flaw to me was its dialogue, in which many lines fell flat due to the excessive use of clichés. Though, I do understand that it’s a parody of sorts, so I guess having the best script wasn’t a priority. It was unexpected that it was in English as well. I found it pretty interesting that as a Japanese film it was all in English, which was a little jarring at first, but I think the actors did a great job speaking and delivering their lines. Catering to an international audience, choosing English was a good choice.

I very much enjoyed the costume and set designs too. Each element was visually stunning, either coated in white or red to designate the Genji and Heike, respectively. Being as intricate as they were, you could tell lots of time and care were put into these aspects. Mixing Japanese (and Italian) influences into an American old west setting also worked very well in its favor. One of the messages at the end of the story contained a nice sentiment as well– that after all the bloodshed there was love and hope that lived on through Heihachi, a child with blood from both clans. The snowy fight scene at the end of the film had to be my favorite. The white snow blanketing everything put a heavy emphasis on the irony that it was being stained with the blood and defeat of the Genji clan and their leader. 

In general, I’m glad I got to experience watching a movie as unique as this one due to this class as it’s not something I would ever decide to watch myself. Additionally, it was nice to see another one of Miike’s films. As coincidentally, about a couple weeks before watching Sukiyaki, a film major friend of mine and I watched Audition (1999) and really enjoyed it. It’s very different than this film, but if you like horror I definitely recommend watching it!

I also felt that this film was reminiscent of Ozu. The way it was shot was really well done! I agree that it had a strong message that broke down stereotypes of disabled/elderly people being burdens in society. Though it was a sad movie I think it produced a positive impact on the audience. 

Sweet Bean

Sweet Bean wasn’t exactly what I expected from this movie. I knew it would be a shift from the movies that we had been watching. However, this movie wrecked me. After reading the synopsis I was ready for a fun cooking adventure with some sad elements. Instead, I was met with a tale of being an outcast and the pain it causes. As soon as I saw Tokue I looked at my friend and asked the odds that she dies by the end of the movie. Even though I knew it would happen it was still devastating.

Before I talk about the plot, I want to talk about the way this movie looks. It is stunning. There were a ton of long shots of nature and other things. In this way, it felt reminiscent of Ozu. I loved the way this movie presented itself. It was somber and very idyllic. In this way, it made the viewer very introspective. The shots of talking and other things were very close and personal. This helped the movie feel tight and like you were getting to know these people.

The story for this movie is very much about accepting yourself and finding happiness. Tokue was shoved out of society from a young age yet still found a way to be happy. Her whole purpose in this movie is to help Sentaro find his joy again. When we find this out it is too late for Sentaro to tell Tokue how he feels about their relationship. It was painful seeing him not say those last words to her. It felt like he was robbed. However, I liked the fact that he didn’t tell her his story. It makes it so much better knowing that Tokue didn’t know what he did. Instead, she simply saw the same pain she felt in him and wanted to help. Someone who was kicked out of society cares so much about the fellow people that she helps no matter how old she is. It was a truly moving story. When it all comes together, and you learn everything it puts everting into perspective.

Other than being a story about moving forward and finding joy this movie is very much about being disabled in society. Just because Tokue is disabled and old she is seen as a burden. However, without her helping Sentaro would have continued to run a middling dorayaki shop. While Tokue couldn’t do certain tasks she was able to run the shop without Sentaro. This movie shows how just because someone looks a certain way doesn’t mean you can assume what they can do. This part of the movie is very nice.

Kawase – Sweet Bean

 Before watching Sweet Bean, I expected it to be fairly tedious based on its description, but I was caught off guard when it turned out to be quite moving. Near the end of the film, the scene where Sentaro and Wakana listen to the recorded message left for them by Tokue after her passing was so bittersweet it made me shed a few tears. The cinematography was also consistently beautiful, and I especially liked the pillow shots and montage sequences. These shots created a calm, sweet, but somewhat sorrowful atmosphere. There was also a balanced blend between nature and urban environments that suited the movie’s slice of life genre. 

I think one of the messages of this movie was about finding peace within oneself. The three main characters each faced hardship and were either able to overcome their internal struggles or gain better insight into how to do so. Tokue faced ostracization for almost her entire life due to contracting leprosy when she was young. She sought work at Sentaro’s dorayaki shop to fulfill her dream of working at one and interacting with customers. Living and functioning in normal society was her final wish that I think helped her come to terms with nearing the end of her life. Her story begins with her already having solid principles to live by, such as finding peace through listening and interacting with nature. Both Sentaro and Wakana learn from Tokue as she opens up to them about her past and the way she overcame her extremely difficult circumstances.

Sentaro struggles with heavy guilt from actions of his past and he is constantly reminded of his mistake by working at the dorayaki shop in order to repay a consequential debt. Working there is a depressing, necessary chore to him until Tokue comes along. They bond over Tokue’s amazing red bean paste and he comes to love and take pride in his dorayaki after learning how to make the filling himself. Talking and cooking with Tokue helps him to change his outlook on life. By the conclusion of Sweet Bean, he is shown happily selling dorayaki out of his own cart in a park.

Wakana, a middle school girl who lives in a toxic household, often hangs around the dorayaki shop. Her main struggle is her relationship with her mother who tells her she won’t be attending high school because her education doesn’t put food on the table. By getting to know Tokue and Sentaro, she learns to stand up for herself and her education.

I agree, succumbing to ghosts because they projected their feelings of loneliness was a bit unimaginative. I wish there was reasoning behind this, so as to give the idea more substance. Though, I think connecting this idea to the hikikomori phenomenon seems like a very plausible inspiration. I’m glad you brought it up, since I didn’t think to connect the two.

Pulse - 回路

As far as Japanese horror goes, this is not near the top of my list sadly. While I did appreciate some of the on-screen visuals and the atmosphere on display, the constant bouncing between two distinct plotlines and a rather muddled message that ended with a pretty jarring shift to an apocalyptic setting really bogged down any positive elements I saw here.

It seems like this movie came in around the height of the J-horror boom after Ring really caught the international attention, and this film set out to deliver further on ghost stories that avoided gore and violence over tension and atmosphere. Plenty of points were definitely unsettling, but overall, I feel like the plot fell victim to “this is only happening because every character has a lower IQ than average.” It’s an interesting enough premise, once I pieced together what it actually is, which is that the world of the dead is becoming overrun, and spirits are invading the world of the living, or so one of the characters claims. The devices that are used to help keep us connected are vulnerable to these invaders, and so the living become subject to their intense apathy and give up on life the same as these ghosts did. Rather than inflicting pain, they simply invite the living into their own isolation. “Death is unending loneliness, why should I be the only one to suffer it?” is a possible motivation here, although it is never explicitly stated beyond a confrontation with a spirit towards the films end.

My issue with all this is I’m still not sure what message this is sending out exactly, I don’t think it’s meant to be pure entertainment or just shlocky, I’m sure there’s some kind of commentary on human isolation, connections, budding technology and how this affects people socially. My best guess is that this is trying to confront the issues of “hikikomori” culture, especially as it was developing at the turn of the millennia, in that many people in Japan were beginning to live in total isolation, almost withdrawing entirely from society. "People don't really connect, you know. We're all totally separate." Many of the deaths in the movie are suicide victims who were living alone, forced into isolation by their work routines or other life circumstances. It’s a real and prevalent issue in Japan to this day, with many people passing away alone and going unnoticed for extended periods of time. Maybe this film is an attempt at painting an image of what can happen to the world should too many people give up on staying connected while living their lives in a more fulfilling manner, and instead resign themselves to being isolated and passing on alone. I still think that the ending sequences feel too obtuse compared to the way the film was set up, and that a less dramatic and more somber ending would have been more appropriate.

I really can’t say this movie was really outstanding for me beyond a few cool visual sequences and some interesting attempts at commentary on human isolations and connections, but these ultimately fell flat in the end given the rather jarring transition into the unveiling of an apocalypse. This one really fizzled out for me.

Kurosawa – Pulse

I really did want to like Pulse since I found its premise to be intriguing. However, as the film progressed, I became more and more confused about what was happening and by the end I was only left with questions. With everyone disappearing/dying at the conclusion, I wish there was more of an explanation for why the apocalypse was occurring. Though, I did really like the cinematography as well as many of the sets. There were many long shots to establish the different settings, as there were quite a few of them. I especially like the abandoned factory near the end of the movie because it seemed to embody the malaise that had been building since the former parts of the story.

There are two storylines that eventually converge. One follows Michi and her coworkers at a plant store and the other follows a college student, Ryosuke. Michi’s story begins when one of her coworkers, Taguchi, hangs himself when she goes to check up on him. The rest of her coworkers die by becoming black stains of ash on the walls after seeing the ghosts behind red taped doors. Simultaneously, Ryosuke is having some trouble setting up internet at his home. After he sets it up, a weird website pops up and shows footage of people alone in their rooms. He goes to the computer lab at his school the next day and asks Harue for advice. Up until this point I found the story to be very intriguing and original, however it fell flat from then on. Many clichés are introduced and the ending seemed to be an easy way out to wrap up the plotlines.

The pair eventually try to run away together after noticing more and more people are disappearing. But Harue runs back home due to some compulsion - which marked the beginning of more clichés to come. Afterwards,  Michi and Ryosuke meet while Ryosuke is looking for Harue, who they find right before she kills herself in an abandoned factory. Ryosuke gets locked into a red taped room and meets one of the ghosts when he goes back into the building alone. Michi finds him and drags him out though he has already lost his will after seeing the spirit. They make it to the sea together to escape on a giant ship, headed for South America, where they think is still safe from ghosts. Below deck, in a room together, Ryosuke fades into a black mark on the wall.

The internet is tool for people to connect with each other but in this film, these “internet ghosts” infiltrate the world by invoking feelings of deep despair and loneliness in people leading to suicide/fading into ash. Even though the internet can connect people, I think there is a commentary on how it can also have the opposite effect and make people feel more isolated than before. Which is true, as even with text and video chat nothing can replace meeting in person.

You made some pretty interesting arguments. I especially agree that some humor could have greatly improved the film. I also found the film to be engaging despite its let down of a conclusion. Pointing out that there was a commentary on modernism was something I hadn’t realized too - great post!

Ringu

I must admit, I’m not really a fan of horror movies. Unless it is something quite unconventional to me (i.e. Hereditary), I’m often unable to really absorb myself in the atmosphere it calls for and find myself waiting for the final cheesy reveal. This movie is sort of somewhat an exception. On one hand, it is clearly unique and strays away from some of the gore and jump cuts often associated with the genre. However, the absurdity of Ringu and some of the cheesy effects were just too much for me. The distortion elements in regards to the killer tape were creative but they were so over the top in their attempt to be creepy that I just found myself wondering what was the point. It seemed to take itself way too seriously at several points when some humor could have seriously been used to undercut some of the absurdity. Some positives included the use of medium and long shots to build up suspense which was executed extremely well. The suspense was even further elevated with the countdown of the days throughout the film which continuously kept me engaged. This suspense almost feels wasted though with the reveal a copy of the tape is needed to avoid the monster. This was so unsatisfying and a borderline deus ex machina in what was shaping to be an interesting conclusion to this detective plot.  I also think there’s an interesting commentary on traditionalism vs modernity. The horror exacted throughout uses a VHS tape as a medium for its terror and the first victims we see are teenage girls. Furthermore, televisions are used repeatedly as a symbol of terror and are framed in such an ominous light. The film feels angry toward modernization and the ones who have been edged to the side in this ever-changing world. I think I should learn to appreciate the novelty of a film such as this and its clear impact on the culture despite my grumblings. It has some great effects for its time and it feels like it’s trying to be a genuine movie rather than just some cash grab. This is admittedly made harder by the subsequent films that would make this a blockbuster franchise. I think the hardest thing for me is the fact that this film just does not compare to some of the recent ones we’ve seen. I have been spoiled by the riches of incredible contemporary films and this feels like one watched more for the sake of filling the horror genre than actual invigorating film. While I applaud the use of numbers and long shots to build effective suspense, that is about all this film does for me and I do not see myself ever watching it again.

Nakata – Ringu

Ever since I was a kid, I’ve been huge fan of horror movies. Probably about ten years ago was when I was first introduced to the Ring franchise. I’m pretty sure I came across and borrowed it from a Blockbuster store with my dad before they all shut down. Albeit, I had only seen Verbinski’s Hollywood remake, The Ring (2002), up until this point, but it has always been one of my favorite pieces of horror. Not long after watching, I also stumbled upon the manga adaptation and this series became the first manga I had ever read. So, it’s sort of sentimental to me in that respect. Needless to say, I think watching Nakata’s Ringu, had been long overdue and I’m glad I got to finally see it.

My initial thought after watching Ringu was that it wasn’t nearly as scary as I remember Verbinski’s version being. At first, I was a bit disappointed, but after collecting my thoughts over the course of this week, I came to appreciate Nakata’s rendition. The pace in this film was steady and it was a bit of slow burn, but I think that’s exactly what made it good. The slow build allowed for an overall more anxious and somber tone throughout the movie. There were many scenes that I thought were leading up to a jump scare or something bad occurring. For instance, when Reiko’s son walked alone upstairs during the funeral, the tension was high and there was the anticipation that he might discover the tape or see something horrible. But when nothing happened, some, but not all, tension was released. Throughout Ringu, there were many other similar occurrences, and I think the intent of doing that was to steadily build a sort of uneasy feeling.

I also liked the lighting and how it fit the tone very consistently for the whole movie, assisting with suspension of disbelief. I think the editing done on Reiko being transported into the flashbacks was done pretty smoothly too. Though the black and white freeze frames on the faces of those who were killed by Sadako really took me out of the film. Their intended effect of being dramatic and scary had the opposite effect and to me, felt comical, which was a little disappointing. Other edits such as the photo editing done on Reiko’s face when she got her picture taken after seeing the tape did make me flinch. Overall, I enjoyed watching this film and found it to be engaging the whole time. I’m probably going to rewatch The Ring to see how the two compare, since it’s been so long since I last saw that version.

I like how you brought up the introduction of the film, the images of the city in combination with text overlaid and a voiceover was a very impactful start. It also made for a good full circle moment when Ageha narrates the conclusion. I agree with you, that the major themes of Swallowtail were racism/discrimination and family. In regards to family, finding people you can consider your family, rather than through blood ties was a message I hadn’t noticed before.

Swallowtail Butterfly - Shunji Iwai

For This discussion post I will be discussing Swallowtail Butterfly by Shunji Iwai. The movie is about a group of immigrants living in the immigrant slums of Tokyo. Tokyo was called Yen Town as it was seen as a place to make money at that time, but also became the name that people called the immigrants who came there in search of money (which was summed up perfectly by the movies iconic introduction). Through there struggles they open a club (which was semi-successful until it was forced to close), they make money using Ryo Ranki’s tape and scamming the atm’s, and eventually have to deal with the Chinese mafia, law enforcement, and the dangers of the slum itself.

I think the introduction setting the premise for the entire movie was a smart choice on Iwai’s part, as it helps the viewer get a feel for what to expect in the movie. The way Ageha narrates it with the text flying across the screen also makes it very memorable and is a really strong first impression for the movie.

As for the themes of the movie, it definitely feels like it delves into racism and family. Racism seems like the most obvious theme of the movie, as the main characters of the movie are mostly Chinese immigrants, and as a result face a lot of racism at the hands of the Japanese people around them. Some good examples of this would be how the music agent got Fei Hong’s club closed down and got him arrested, how it was not possible for Chinese immigrants to actually own and manage the club in their name (and they had to get a Japanese person just so they could own the property), and the brutal treatment they got from law enforcement (especially Fei Hong, who I believe was killed by the interrogators/prison guards).

The other main theme I saw was that of family. This can be seen particularly in the strong bonds she forms between Glico and Fei Hong, who act as her older sister and brother. Ageha starts off with no connections and alone, to the point where she didn’t even had her own name. This shows how isolated she was at the beginning of the movie. It is through her interactions between Glico that she is able to get a name and is introduced to the other immigrants such as Fei Hong at the car repair shop and she is able to find a place among this new family. She is also able to connect with Fei Hong by learning Chinese.

The movie is also pretty violent, as would be expected with a crime drama. It honestly felt a bit like a Grand Theft Auto game at some points by just how ridiculous the action and fight scenes were. For example, the fight between the guy with the shot gun at the auto repair shop and the Chinese mafia guy with make-up where the shotgun guy just blows up the entire army of mafia guys and their trucks. It was an explosion that would’ve made Michael Bay proud. On top of that someone walks out of the shop behind him with a LITERAL ROCKET LAUNCHER. How did they even get their hands on a rocket launcher?!? It was fun to watch, but I couldn’t help but feel it was a bit over the top at times.

Overall, I enjoyed the movie and thought it was an entertaining crime drama. There were a lot of characters that I enjoyed such as Fei Hong and Ageha and I felt invested in their struggle. I did feel that the movie dragged on a bit and was hectic at times, but I would not say that it greatly affected my enjoyment of the movie.

Iwai – Swallowtail Butterfly

I found Swallowtail Butterfly to be one of the best films we’ve watched so far in class. I had moderately high expectations after reading a brief overview before watching it, and my expectations were definitely surpassed. Categorized as a crime drama, I was surprised to find out that many of its scenes were particularly comical. Also, the way this film mixes Chinese, Japanese, and English was really interesting.

The film follows an array of characters but primarily focuses on a teenage girl named Ageha. It begins with the death of Ageha’s mother in Yen Town, a dystopian city based in Tokyo. We also learn in the beginning, that a majority of Yen Town’s population is comprised of undocumented immigrants that do illegal work and for that reason it’s not uncommon to be considered nameless. Without having anywhere to stay, Ageha is passed around to a few different people before Glico, a Chinese prostitute living in Yen Town, decides to take her in. Soon after, Glico’s friends who work at a junkyard/repair shop, are introduced. Due to some circumstances, one of Glico’s clients gets killed while with her and the friend group helps to hide the body. Inside the body, they discover a tape which contains data used to create counterfeit bills, linked to a prominent gang leader. They create a scheme to make money quickly and open a live music venue, which eventually causes them quite a few problems. Left to her own devices, Ageha runs into trouble but learns from her mistakes; her maturity symbolized when she decides to get a butterfly tattoo on her chest similar to Glico’s.

I really enjoyed the maximalist set designs of Yen Town showcased all throughout the film. From Glico’s room to the Yen Town underground market, each was executed with keen attention to detail. Set in a dystopia, there are also some designs evidencing “high tech, low life” such as the characters’ use of computers and technology despite being in the slums.

Overall, despite its long runtime, I thought Swallowtail Butterfly was thoroughly engaging and enjoyable. I liked its message about how money doesn’t bring happiness as at the end the main group of characters burned the rest of the money Ageha had collected. Despite the hardships they went through, most of the characters were able to find a sort of bittersweet happiness by the conclusion of the film.

I like how you brought up how this film made you feel nostalgic because I felt the same way! I think for me the imagery, soundtrack, and pacing made Hana-bi invoke nostalgic feelings. I also really enjoyed the portraits with flowers for eyes or heads. To me, the flowers symbolized Horibe’s feelings about his identity and loss of self since becoming paralyzed.

Hana - Bi   -   Kitano Takeshi

Hana-Bi by Kitano Takeshi was an interesting experience; not so much in the plot but in the literal watching of the movie. I felt a sense of nostalgia while watching the movie even though I know I have never seen it before. It somewhat reminded me of the movies that would play on the Lifetime network back in the 90s which was an interesting thing to be reminded of. That was just a fun personal fact that I wanted to start this blog post off with. Hana-Bi is a movie which seems to revolve around 3 main characters, that being Nishi, Horibe, and Miyuki. Nishi is a retired cop who for most of the film wants to spend the rest of his time with Miyuki who is his wife. Miyuki is diagnosed with leukemia so she does not have much time to live. She is a very silent character (literally does not say a word until the very end of the film) and is a character who speaks mostly through body language. Finally, there is Horibe who was Nishi’s partner as a detective and is eventually injured and left paralyzed from the waist down.

Most of the plot consists of Nishi having a hard time getting over his past while being pestered by Yakuza members who he had worked with in order to help pay for Miyuki’s treatment. It is easy to see how depressed and stressed the character of Nishi is, even going as far as robbing a bank to be able to pay back the Yakuza and sever ties with them and the police force for good. Unfortunately, the Yakuza were not satisfied with the payment and had expected more from Nishi in the form of “interest” which does not sit well with Nishi who eventually kills them and is then put in even more trouble. The movie ends in a sorrowful fashion with both Miyuki and Nishi committing suicide together. The final words of the film are from Miyuki who says “Arigato. Gomen” both saying thank you and apologizing.

As for the imagery of the film, I have to say it was interesting and sometimes hard to put my finger on. Multiple times throughout the film you can see cartoonish portraits of flowers and other various objects. The only connection I can make with this is the hobby that Horibe picked up after his accident which was to paint. He paints portraits similar to the paintings that have been scattered throughout the film, making me wonder if they could have been his. I also think it is interesting to mention that the style of painting Horibe had picked up was pointillism, so I wonder if there was any meaning behind that as well. I also think the idea of flowers played a major role in the movie. A scene I had really liked was when Miyuki was watering the dead flowers and some guy began to berate her saying “No use watering dead flowers”. This angers Nishi and so he beats him up, granted I think it was a bit uncalled for but I think he reacted so intensely because he saw it as a metaphor for how he has been treating Miyuki. He was essentially trying to take care of someone who unfortunately was bound to die in the end.

Overall I really enjoyed this movie, I also want to mention how much I enjoyed the 1990s soundtrack and the very interesting characters. It was an interesting look at what can happen when we lose touch with some of our not so pleasant emotions such as anger and guilt,     

Kitano – Hana-bi

I wasn’t sure what to expect before watching Hana-bi after learning it was a yakuza movie, but I was pleasantly surprised with its approach. Its story follows Nishi and the events that take place after his retirement from work as a detective. At the start of the film, we learn several reasons about why he chose to retire. The inciting incident for his retirement being the arrest of a suspect that ended tragically, in which one of his partners was killed and two others sustained critical injuries. Throughout the movie Nishi experiences flashbacks of the event and through those scenes an understanding is developed regarding how much the incident still affects him. Concurrently, the other reason for Nishi’s decision is to care for his wife, Miyuki, who has terminal cancer. Due to the depressing circumstances in Hana-bi’s introduction a somber tone is established that continues for the rest of the film. Without a source of income, Nishi then gets involved with borrowing money from the yakuza and falls into debt. So, to resolve his money problems he comes up with a ploy to rob a bank and runs away with Miyuki. Violence ensues when the yakuza catch up with them to demand more money, citing he didn’t pay back all of the interest. Nishi remains calm with each confrontation during his travels and seemingly without remorse, kills each member that comes after him. In the end, Nishi’s crimes catch up to him when one of his old partners finds him and his wife at the beach the day after the murders.

One of the things that stood out to me the most prominently while watching this film was the lack of lines Nishi and his wife had. I found the lack of speech put a heavy emphasis on the actions of these characters. The wordless scenes involving Miyuki and Nishi were especially magnified. Simply through their interactions together, it was clear to see how comfortable and loving their relationship was. Additionally, the violent acts Nishi commits are juxtaposed against his wordless temperament. When yakuza approach him prior to his repayment and departure, he demonstrates this disposition by patiently waiting for the pair to finish their spiel about his loan before lashing out. Having established to the yakuza that he is a man of few words, when they approach him while at an inn during his travels, they don’t suspect him to be violent. This makes it easier for him to quietly follow them back to their car and kill all of them in cold blood.

Another notable aspect in Hana-bi was its inclusion of a great deal of artwork. In my opinion, the incorporation of visual arts greatly enhanced the overall profundity of the film as the pieces were able to convey many of the film’s themes in such a way that was well integrated into the storyline.

I appreciate that you mention how Sugihara breaks through Zainichi stereotypes without realizing it. I didn’t realize that through his rejection of seeking revenge for Jong Il, he was rejecting a Zainichi stereotype he thought of himself. I also liked how Sugihara enjoyed reading and rakugo. The latter of which I thought was a little ironic, but I think it helped him realize that he doesn’t need to be boxed in by labels.

Go

­­­­­­­I loved this movie!! It was such a fun watch and I also felt it presented the absurdity of the discrimination that “non-Japanese” populations face in Japan, and did not really hold back in making its message clear. I thought it was going to be a Romeo and Juliet adaptation, but was very pleased with what it was actually about.

Being a Zainichi

The issue of identity and nationality are the main focus of this film, despite Sugihara occasionally reminding us that this is a love story. Sugihara’s status as a Zainichi affects everything he does and almost places limits on what he can and can’t do. He says he has dreams of becoming a doctor or a lawyer, but he also immediately says those are impossible when talking with Sakurai. He and Jong-Il talk about college and reaching high places in the workforce, but Sugihara just simply doesn’t believe in it because he feels he’s not in a position where those dreams are attainable. He also attributes his inclination to fight and to be a delinquent as attributes of being a Zainichi.

However, Sugihara eventually realizes that his status within Japanese society does not represent something tangible, or rather, that the box he has been put into doesn’t define him or have any real meaning in the grand scheme of things. He breaks himself out of this box in many different ways, sometimes without realizing it. For example, when his old classmate asks him to help get revenge for Jong-Il, Sugihara refuses because violence (something he associates with being Zainichi) is not necessary and is just a mindless, unnecessary choice to make. He also decides to go to college, which he previously saw no point in. The only thing holding him back from doing all of these things was the internal prejudices he had towards himself, and by the end of the film, he was able to overcome these obstacles.

I also liked that he had a lot of other characteristics than just being violent and boisterous. He was so focused on being a Zainichi that he didn’t really focus on how he enjoyed reading and learning, or how he liked music and was really excited to go to the opera. Considering how he was reading at a club, these characteristics were pretty obvious to the audience, so it was really nice to see him decide to go to college. (It was also nice to see him decide to pursue higher education because Jong-Il believed that he could… This is slightly off topic, but I gasped when he was stabbed and was very upset.)

Being a Boxing Referee

My favorite scene is probably when Sugihara gets horribly beaten up by his father near the end of the film. However it is not because of the beating, but instead the pure enthusiasm of the taxi driver going above and beyond to celebrate the father’s win.

It’s just so funny, I mean look at him. I love how excited he is that his generation’s representative was able to just overpower the younger generation.

To be more analytical, if we look at it from a modern perspective, the normalcy of physical abuse towards children as punishment really stands out. However, from the point of view of these particular characters, boxing and fighting have been how they come to an understanding. Even though the father beats his son—and makes the point that you have to do whatever you can to win—he understands that Sugihara may have a point in regards to the discrimination they face. They both consider each other’s perspectives and recognize the importance of both, bringing them closer together. It was a nice moment if you overlook the blood.

Yukisada – Go

Through voiceover, Go’s protagonist, Sugihara, introduces the film as his love story and frequently reminds us of this in the beginning as we are getting caught up to speed about what has been happening in his life thus far. However, though there is a focus on love, I would argue that it’s not the main point of this film. Classified as a drama/coming of age film, Go primarily focuses on Sugihara’s struggles with being Korean in Japan. We learn that his upbringing up until he entered high school was much different than his peers. He attended Korean schools growing up and would often misbehave and cause trouble. He is chased by the police a couple of times with his friends and engages in fights. His dad taught him how to box from an early age, so he never lets anyone get the best of him. Though he is never able to win against his dad and gets beat up by him an alarming number of times throughout the movie. Sugihara gets along with his parents despite them both being pretty physical – I think that it was intended to showcase their tough love quite literally. Once in high school he struggles with feeling like an outcast but soon meets his love interest, Sakurai, at a friend’s party. They ditch the party and hit it off that night just talking alone together and gradually develop feelings for each other after meeting several times after. Sugihara continues to grapple with his identity and the fact that he hasn’t told Sakurai that he’s Korean yet, but in the end he tells her and she accepts him after half a year of not speaking.

Sugihara’s closest friend, who is also Korean, is tragically killed in the subway in the latter half of the movie. After his funeral, Sakurai comforts him and offers to spend the night with him. The transitional scenes of the pair going off together were very artfully done. They stand and travel together in silence, really emphasizing the loss that was just experienced. Feeling he needs to tell her as they begin to get intimate, Sugihara confesses he is Korean. Sakurai doesn’t take it very well and justifies her thoughts by saying her father told her to never be with anyone Korean or Chinese. This highlighting the discrimination and how deep rooted and systemic racism towards these groups are.

Sugihara leaves and encounters a police officer on his way home. At first their interaction is harmless, but he gets scared he is being suspected so knocks him out deciding to stay until he wakes up instead of running. This encounter really highlights how Sugihara’s attitude is changing. They have a good talk when the officer comes to, reflecting on race. I think it was one of the best parts of the film. Overall, I really enjoyed Go and wasn’t expecting it to emphasize issues of racism in Japan.

Itami – Tampopo

Breaking the fourth wall, Tampopo begins with a yakuza sitting down with his girlfriend in a movie theater, telling the audience about rude things he hates that people do in theaters. Right off the bat, we are reminded that though this is a movie, we, as the viewer, can feel a connection to it through food as a universal experience. I think this scene makes it so that the skits interjected to the main story feel more cohesive and connected. The film’s primary storyline follows Tampopo, a failing ramen shop owner, and her journey to creating a successful restaurant with a new and improved ramen recipe with the help of people she meets. She trains mostly with Goro, a truck driver who stops at her shop, after he gets into a fight to defend her from some of her regulars. He helps her with her preparation, interaction with customers, and technique of making ramen. From then on, she meets several mentors that help her to do research on ramen at other restaurants in order to improve her own. She is able to improve her broth and noodles through this field research and once she tweaks the recipe enough for the approval of her mentors, she then gets her shop renovated and by the end of the film she happily serves her new customers at her now bustling restaurant.

Throughout the film there are several cuts to skits related to food. Some weren’t focused on eating but rather recipes, cooking, or sensuality. The yakuza and his girlfriend from the first scene had their own mini storyline; most of their screentime featuring them toying with extravagantly prepared food with each other. Though their scenes were uncomfortable to watch, Itami was able to convey that food and pleasure go hand in hand. The other scenes, varying from lighthearted to a bit tragic, served as good transitions in Tampopo’s journey learning about ramen. From each, we learn about food and its impact in people’s lives. From a mother preparing a final meal for her family before she dies to an etiquette class on how to eat spaghetti, the clips are short but long enough to make an impactful statement. Each poking fun and drawing attention to the dynamic we have with meals.

There is a narrative relating to social class in this film as well. One of Tampopo’s mentors is a homeless man and he and his group of friends ironically happen to be gourmets. When they are introduced, they don’t hesitate to criticize the food they scavenge from high class restaurants. One of my favorite scenes is when one of them sneaks into a restaurant with Tampopo’s son to make him omurice. This made the message of enjoying good food being a universal experience more endearing.