Obscure Japanese Film #112
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| Masahiko Tsugawa and Mie Kitahara |
Director Ko Nakahira’s first film following his famous ‘sun tribe’ movie Crazed Fruit again stars Mie Kitahara and examines the lives of disaffected youth in post-war Japan. The film opens dramatically with a brief but attention-grabbing pre-credits sequence in which we hear a startling scream from Kitahara, who is standing on a windy beach and shouting out to sea. “How unfair! You’ve gone forever, that’s so unfair. I’ll never forgive you for this! Never!” she yells before rushing into the stormy ocean. This scene is repeated again at the end of the film, by which point of course we have the context to understand it.
Ryoko (Kitahara) is a young woman living with her family after having been raised by another woman they call ‘Aunt Maki’ (Ayuko Fujishiro) until she was 13, at which point Aunt Maki remarried and sent Ryoko back to her birth mother, Mitsu (granny-specialist Tanie Kitabayashi playing her real age for once).
Tanie Kitabayashi
As a result, Ryoko not only feels unwanted by both women and resents them, but has grown up to be a cold and cynical person. Although she works as a teacher at a special needs school, it’s a job she has taken mainly because her parents were against it (for reasons which are unclear). The family live in a Western-style house and are practising Christians. Mitsu takes religion especially seriously and is insufferably self-righteous; Ryoko sees her sister Taeko (Yoko Kozono) as a carbon copy of her mother and despises her for this reason. Their father (Yo Shiomi) is an antiques collector with his head in the clouds most of the time, and the only family member Ryoko feels any kinship with is her younger brother Akira (Masahiko Tsugawa), mainly because he’s adopted.
Masahiko Tsugawa
Into this already dysfunctional household steps Akimoto (Tatsuya Mitsuhashi), a young man who is newly-engaged to Taeko. He’s full of self-loathing after having survived a suicide pact with a former girlfriend who died. When Ryoko is introduced, she suffers a shock – by pure coincidence, Akimoto is the same man she once had a one-night stand with on a camping trip. Trouble begins when the two realise they still have feelings for each other…
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| Tatsuya Mihashi |
In an attempt to follow the huge success of Crazed Fruit (based on a Shintaro Ishihara story), Nikkatsu studios chose to adapt another controversial Akutagawa Prize-nominated story by an angry young author – in this case a female one, Michiko Fukai (1932-2015). This is the only one of Fukai’s stories to have been filmed, and her literary career seems to have been a short one. To my knowledge, none of her stories have been translated into English. Although information about Fukai is scarce on the web, she was apparently influenced by Luchino Visconti’s portrayal of self-destructive emotions in Senso (1954), which had been released in Japan as Natsu no arashi, or Summer Storm, and whose title she borrowed.
Tatsuya Mihashi and Yoko Kozono
The film features a considerable amount of voiceover narration by star Mie Kitahara, and is quite a dialogue-heavy piece of work in itself. It’s extremely well-directed by Ko Nakahira, who helps to hold the interest with some unusual staging; for example, he has Kitahara play a whole scene lying face down on the floor at one point, while in another, Ryoko and her colleague Kido (Nobuo Kaneko) exchange lines in a sweltering staffroom while each try to commandeer the one electric fan available. Unfortunately, Ryoko and Akimoto are both such self-pitying characters that they soon grow tiresome, and they are also given to saying things like “I crave exhilarating drama that makes my head reel!” (Ryoko). Perversely, it’s only when Akimoto realises that Taeko doesn’t love him that he wants to marry her. “You can’t understand my delight at the living death she promises me!” he exults. It’s hard to imagine real people saying such things, and I doubt it would sound any less pretentious in Japanese as the subtitles by Stuart J Walton are excellent. For these reasons, the film ultimately left me cold, and I suspect that it was a good deal less well-received than Crazed Fruit considering that it’s nowhere near as well-known and there were no further collaborations between Ko Nakahira and Mie Kitahara, or adaptations of Michiko Fukai’s stories. Where Crazed Fruit successfully tapped into the zeitgeist, Ryoko and Akimoto are both a bit too weird for most people to relate to; consequently, Summer Storm’s themes of suicide and incest feel like a slightly misjudged attempt to appeal to the supposedly nihilistic and rebellious youth of the time through mere shock value.
Bonus trivia: Mie Kitahara (b.1933) was one of Japanese cinema’s biggest stars of the late 1950s and is still alive at the time of writing. After making 20 films with fellow star Yujiro Ishihara in the space of five years, she married him and retired from films in 1960, subsequently appearing in only one TV drama in 1964. Known as Makiko Ishihara since she quit acting, she co-managed her husband’s production company for many years and continued to run it after his death in 1987.
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