11 / 122 The Complete (Existing) Films of Sadao Yamanaka

[Lino]

Beaver review

[What A Disgrace]

Looks fine to me. Bring on the other two!

By the way...apparently, there is a film called The White Hood, directed by Sadao Yamanaka and Hiroshi Inagaki. IMDB lists a running time (64 minutes), indicating that the film survives. Is my assumption incorrect?

[Michael Kerpan]

Never heard of "the White Hood". Not much of Inagaki's vast output is available -- and even less with subtitles.

Yamanaka wrote the scripts for three shortish films about Mito Komon (an early shogun who was, according to legend, a scholar and mater swordsman, who roved the countryside incognito -- rather like Harun al Rashid) -- and these films (directed by Ryohei Arai) survive and are available with benshi narration (no subs) from Matsuda in Japan. Very expensive videos, as I recall.

[Lino]

DVDtimes review

I've got to tip my hat to Eureka again for providing us with not only a rare gem for the first time in the west, but also for the way they've handled the release. They're continuing to be a strong contender in the world cinema market and their summer 2005 Japanese releases thus far have been nothing short of stunning. Humanity and Paper Balloons is a beautifully shot and well told story that should be added to any Jidaigeki fan's list, or simply any film enthusiast's.

[Steven H]

Got mine in the mail yesterday from bensonsworld (forgot I had preordered it earlier this year, and my spamguard stole my dispatch notification... got the thing in the mail an hour after my new dispatch notification from amazon.co.uk for this and Naked Island. I'm far too unorganized for the internet).

This must be the best DVD of the year, and one of the greatest films of all time (as little or as much as this means). I've seen it a few times now and it gets better. The booklet and cover are excellent, even the Menu music is enjoyable (interesting mix.)

The film itself is gorgeous, the way the light and the rain combine for effect during a few scenes, the clouds in the sky, and the heightened responses between the ensemble players continue to amaze me after the film has ended. I can't say enough about the cinematography, rhythm, and beautiful set design. My girlfriend loved it as well ("best film you've shown me next to Pickpocket, Steven!"... I added the "!") There are so many things to like and comment on, and this film is just another reminder of how rich Japanese films from the 30s were (of the handful of directors I'm familiar with.)

I have one more Yamanaka to see (with Takemine no less!) with high anticipation.

[Michael Kerpan]

I just e-mailed "Benson's World", asking why I haven't heard anything about this from them. I pre-ordered it at the end of April. ;~{

I suspect I will agree that this is the most important subtitled classical DVD release of the year. (The unsubbed Naruse ones from Toho will also rate very high).

As I see it, there are 5 (more or less co-equal) giants of the first Japanese golden era -- Ozu, Naruse, MIzoguchi, Shimizu and Yamanaka. I will be happy to add others, if I find them -- but can definitely say that Gosho won't make the cut (despite the fact that his films are still worth seeing).

[Steven H]

I had a feeling reading The Japanese Film (and Ritchie's 100 Years...) that Gosho would be a little "lesser", despite the praise the books heaped on him. Still haven't seen anything by him though. I need to see more Naruse from the 30s (only Wife! so far, unfortunately), and I would love to get my hands on some Uchida Tomu (especially Earth) and Shimazu Yasujiro.

Shimizu is the chicken that keeps laying golden eggs for me. As much as I now love Yamanaka, there are only three films out there to see, while Shimizu dazzles over and over. If Shochiku ever gets around to releasing his films on DVD, it will make for a wonderful surprise.

[Michael Kerpan]

I suspect Shimazu was more on the Gosho level -- based on what I can glean from reading (and from watching Yamada's film a clef about the early days of Shochiku). Uchida, on the other hand, is more of an unknown quantity.

I have two more Shimizu films awaiting first viewing -- "Seven Seas" and "Boss's Son Goes to College". And I need to rewatch "Eclipse" (loved the water wheel).

Gosho's heart is clearly in the right place. And he clearly is more than competent, but... I think he may not have a "purely visual" imagination. He seems to be very heavily story-oriented -- and is too often content to simply make plot points. And he just doesn't have the sense of visual rhythm that his best contemporaries did -- scenes (and shots) often seem a bit too long or a bit too short (and every now and then, there are shots that are almost irrelevant -- or unnecessary).

[Steven H]

I have two more Shimizu films awaiting first viewing -- "Seven Seas" and "Boss's Son Goes to College". And I need to rewatch "Eclipse" (loved the water wheel).

I have a few more to see as well. Have you come across Star Athlete (I haven't)? That seems to be one of his more well known films.

[Michael Kerpan]

Nope -- haven't run across Shimizu's "Star Athlete" -- or his most famous post-war film ("Children of the Beehive").

[Anonymous]

Shinza appears more to be aspirational/entrepeneurial rather than addicted to any vice. HUMANITY's high society is unable to assimilate intelligence but also, in Mori's rejection of Unno, so too is the hereditary route out of the slums unreasonably blocked. It's all part of the pessimism of a deeply unjust society that requires people to keep in their place, to never develop but to fear – should anyone outside the clique think otherwise – retribution.

Going off HUMANITY AND PAPER BALLOONS and TANGE SAZEN (thanks for the eBay link!) I can only see Yamanaka as a major talent that I'd never experienced before. There's a sharp, contemporary humour throughout his work that's quite unlike any of the other Golden Era Japanese directors - Mizoguchi, Ozu, Kurosawa, Naruse (I haven't seen any Shimizu). It's very evident in TANGE SAZEN but also present in HUMANITY. It heightens the experience of the film, combines with Yamanaka's attention to detail where each scene seems loaded with an almost imperceivable, extra dimension (for example when Unno returns home drunk and for a split second you see him dribble as he stands in the doorway), combines with the artistry of the transition, the editing (the way the conversation with the goldfish seller moves down the street in a series of jump cuts) and the strength of the images (the messenger boy who quivers at the door whilst being told to fetch the "usual medicine") - the whole film puts you in a state of incredulity scene after scene and it's this 'ramping up' that raises its emotional impact to the same dizzy height.

A wonderful release from Masters of Cinema that, if there's any justice in this world, should irrevocably place Yamanaka in the pantheon of the greatest directors of the 20th century.

[Michael Kerpan]

Hopefully Yamanaka's other surviving film "Kochiyama Soshun" will surface with subtitles sooner rather than later. It is just as wonderful as the other two. It is a story (when re-told by Yamanaka) that is quite like the authentic version of "Robin Hood" (rather than the more upbeat Hollywoodesque versions). And it features an extremely sweet (and timid) young Setsuko Hara.

In a sense -- Yamanaka's films are not really about _keeping_ people in their places, but about a breakdown in urban society that does not allow people to find (or maintain) meaningful places in life. In "Humanity", for instance, the rich man would appear to have some obligation to the family of the ronin -- and he knows it. But by refusing to even accept the letter that would formally trigger his duty to fulfill the obligation, the man can disclaim his traditional responsibilities.

I find an interesting link between H&PB and Kitano's "Zatoichi". To my mind, the most satisfying part of Kitano's film emotionally is the sub-plot involving the ronin and his sick wife. I really suspect that Kitano's character is very much modeled on the corresponding one in Yamanaka's film.

[Steven H]

HUMANITY's high society is unable to assimilate intelligence but also, in Mori's rejection of Unno, so too is the hereditary route out of the slums unreasonably blocked. It's all part of the pessimism of a deeply unjust society that requires people to keep in their place, to never develop but to fear – should anyone outside the clique think otherwise – retribution.

There's an interesting image near the end of the film of a young boy trying to run out of the tenement and being grabbed by a policeman and forced back in. If anything proves your point, that would, I think. I also find Yamanaka very funny, and while there is a comedic element to Humanity, Tange Sazen had me laughing pretty hard, pretty often. I also agree about the "extra dimension", and his films are worth watching and rewatching to pick up on the subtleties. I thought the rhythm of editing and acting, with every shot perfectly choreographed, during the "wake" party at the beginning was amazing. The use of music, also very interesting, with a score enhancing the tragic coda, but leaving the rest of the film to music within the film.

I've been thinking a bit about the examination of fuedal mores in his films, how they're held up for ridicule in Tange Sazen (over and over again) and cause for disaster in Humanity. It sounds like Kochiyama Soshun (And earlier I meant Hara not Takamine) would lean towards the former.

[Michael Kerpan]

I think feudal values (and structures) definitely lead to disaster in "Kochiyama Soshun" too. It is the thieves that are essentially honorable -- and the respectable people who are essentially lawless. And the power of the two sides is grossly disproportionate (despite Kochiyama's greater craftiness). So, while there is humor and ridicule, the view of society (as calamitous) is more in line with H&PB.

BTW, Bensonsworld now tells me my copy of H&PB was sent of July 19 -- so its just a matter of waiting.

MEK

[What A Disgrace]

Thank you for the film, the transfer, and the revealing little insert booklet. A pox upon me for previously commenting on the lack of supplements...I may have learned more about the film and Yamanaka from the booklet, than I could from a commentary.

MoC is definitely a step or two ahead of Criterion, as far as typical inserts go.

[Michael Kerpan]

I finally got my copy of the new Masters of Cinema (Eureka) DVD from England (a long delay -- due to the loss of the first copy in transit) -- and would rate this an essential purschase for anyone interested in Japanese cinema (and who can play R2 DVDs). This story of the samurai system turned sour in urban lower-class Tokyo is a stunning mixture of social realism, (mostly blackish) humor and tragedy. Besides being a masterpiece in its own right, it is a part of the foundation for later Japanese historical (and other) masterpieces -- most especially those of Kurosawa. The DVD really is first-rate (given the age of the film). I found turning the contrast and brightness down aq bit made it took even better (on my television at least). I haven't compared this to the Japanese DVD yet. (Too busy making my way through Naruse, Vol. 2).

[Pinback]

Midnight Eye review:

For me at least, Eureka's DVD release of Sadao Yamanaka's Humanity and Paper Balloons under their Masters of Cinema banner - a collection that so far counts a healthy number of Japanese directors among the Langs, the Keatons, the Renoirs and the Murnaus of film history - must be one of the most important of the year. One can only hope that Eureka's release will pave the way for further forgotten treasures from this overlooked trove of film history. In the meantime, this can only be described as an essential purchase.

[Murasaki53]

Watched this for a second time recently and it completely blew me away. What a poignant, gritty, bleak (and yet humorous) movie this is. And what a tragedy it was that Yamanaka died so young. I don't know anywhere near enough about Japanese films (never seen an Ozu or a Naruse for example) but it left me thinking that he might possibly have brought something to the table that his more celebrated peers didn't, namely, something akin to British working class cinema. Here I'm thinking of films like Saturday Night and Sunday Morning or Raining Stones. Is this comparison too far-fetched?

The humour that runs through Humanity and Paper Balloons then got me curious about Tange Sazen and The Pot Worth One Million Ryo. The DVD that's doing the rounds is actually quite impressive in terms of quality. Turns out it's also a great comedy too. But it seems to be poking fun at the bushido code. And the shinkage-ryu were the most revered school of swordsmanship, weren't they? Wouldn't making out that someone running one of their dojos was a charlatan be seen as more than a bit outrageous? Is this possibly one of the reasons Yamanaka got drafted? Were his movies just too subversive for the times? Or am I reading too much into these films?

[Michael Kerpan]

At the point that Yamanaka was drafted, the Japanese government had not really begun to understand the value of talented film makers. Possibly Yamanaka's politics did make him an early target. but other film makers -- such as Ozu -- would also soon be drafted and sent to China as soldiers too. (Ozu served in the Nanking region -- and NEVER talked about his experience there -- ever).

Ozu and Naruse and Shimizu and Shimazu and Gosho and other film makers at Shochiku portrayed the lives of the lower tier of the working class in the early 30s. Yamanaka was revolutionary in that he brought Shochiku's contemporary home drama focus (and a lot of Ozu's style) to historical films.

[Murasaki53]

Thanks for the information Michael. I have to say that I'm having a great time with these older Japanese directors at the moment and this forum has been an invaluable source of inspiration and insight thanks to people like yourself that are a lot more familiar with the landscape and the efforts of companies like MoC.

[Michael Kerpan]

The only problem with developing an affection for golden age Japanese cinema is that a certain point one either runs into a brick wall (of unavailability) or one has to start tackling unsubbed material. At this point, I've seen a lot more unsubbed films from the 30s through 50s than subbed ones...

[Murasaki53]

At the moment I've still got things like the Criterion Ozu releases and the Naruse box set ahead of me so I'm still a long way from that stage. Plus, my native speaker wife can help me out with Kochiyama Soshun if need be.

It is irritating that the Japanese studios who are releasing older material aren't always including English subs, especially as a lot of new Japanese DVD's that I see when we visit Japan do feature them.

My very wild guess is that with the prevalence of English language schools like Nova in Japan, DVD's carry subs not for the gaijin but for younger people studying English. Directors like Yamanaka perhaps don't get this treatment because the companies assume their films will only appeal to the older generation.

Anyway, given that I'm now going to be buying Humanity and Paper Balloons for two friends, that's two more sales for MoC that will hopefully nudge them a little further towards releasing more Yamanaka.

[Michael Kerpan]

I haven't bought H&PB for anyone -- but I do think I've convinced at least a dozen people to buy this. ;~}

Kochiyama Soshun is not only wonderful in its own right -- but it also features a darling 15-16 year-old Setsuko Hara. I found this a bit hard to understand the first time through -- it took about three watchings to really figure this out (given the lack of English subs).

[Steven H]

With precious little written first hand about Yamanaka, I thought I would post this excerpt from an interview between Mori Yuki and Ichikawa Kon from Quandt's Cinemateque Ontario volume on the director (if anyone doesn't have this, I highly suggest it):

Mori Yuki: What did you think about Sadao Yamanaka, who died young? A Pot Worth A Million Ryo (Hyaku-man ryo no tsubo) and Humanity and Paper Balloons (Ninjo kamifusen) are highly regarded even now.

Ichikawa Kon: He seemed to have been born for the movies. I was just fascinated by Kanie no nagawakizashi, Koban shigure, and Jirokichi the Ratkid (Nezumikozo Jirokchi). I was especially astonished by The Elegant Swordsman (Furyu katsu-jinken), which seemed to create a new film narration. His lyrics and brilliant composition was unique, too. I admired him a lot.

Mori Yuki: I envy you because all those films no longer exist.

Sad stuff.

[HerrSchreck]

Sat down & watched this at last after having the disc 2 weeks (phew!), and am floored. It's so wonderfully original and exudes such fidelity to a rarest insight & brilliance. I love the picture of Yamanaka on the back of the booklet.

One question-- does anybody know if this is a 16-sound reduction? It looked very 16-ish.