Read + Write + Report
Home | Start a blog | About Orble | FAQ | Sites | Writers | Advertise | My Orble | Login

Film Banana - "Come on...gimmie a little a this, gimmie just because they call me shine in here"- B.A.Budduskey

 
Hello fellow Bloggers, I'm Nathan and I enjoy film and television shows as I'm sure you do. When the world is dull, confusing or upsetting, there is little better than putting something on and dwelling in your own universe of choice. A place where you can hang out with characters of inspiring or disturbing natures and maybe even find some answers for your own life in the process.

Josee, The Tiger and The Fish

Josee, The Tiger and The Fish Poster

Josee, The Tiger and The Fish is not a spin-off of Crouching Tiger, Hidden Dragon but is the story of the relationship that develops between a handicapped paraplegic young woman named Josee (played by the ever-so cute Chizuru Ikewaki – Strawberry Shortcakes) and a university student named Tsuneo (Satoshi Tsumabuki – Dororo). Tsuneo is a run of the mill university student as he enjoys to drink, party and sleep around when he is not studying or working at his part time job at a mah-jong parlour. One day at work he hears some customers talking about the strange old lady who is seen pushing a pram around town, when supposedly her child died ten years prior. This leads to various speculations as to what is being concealed in the pram, and guesses range from a mummified version of her dead child to drugs. It is Tusneo who is the first to find out, as when asked to take out his bosses’ dog for a walk he steadies the pram of which the old woman loses grip of. He peaks inside only to have a young woman thrust at him with a knife. This is Josee and apparently she has the knife to defend herself against any curious onlookers who decide to “attack” her. This meeting is the first step in a very touching relationship as after being invited back to Josee and her grandmother’s run down house, Josee makes him some food which Tsuneo finds delicious, although Josee at this point is very curt and disdainful towards the student, possibly because of her isolated existence, kept company only by a withering grandma and the hundreds of books that she collects for Josee to read from their neighbours’ rubbish bins.
A withdrawn Josee

As Tsuneo begins to visit Josee on a daily basis he must also contend with his life outside of that little household, moreover with a girl he has started to see romantically named Kanae; who by all standards is very sweet and considerate. In fact it is her ambition to be a social worker that leads her to advising Tsuneo on renovating Josee’s house at a discount, but her good will doesn’t last long as Josee steals away Tusneo from Kanae leaving her bitter and with sharpened fingernails.
Tsuneo with Kanae

Other characters include Koji a man who was at the same orphanage as Josee and of whom he ran away with as a child. He is a very obnoxious and rude character, and when he is visited by Josee he constantly threatens to kick her ass and to shut up, not because of any genuine hatred for her but more along the lines of a sibling disharmony, and the fact that he is still an immature vandal. There is also Tsuneo’s younger brother who plays a kind but cool guitar shop employee, making sure his older brother is well fed whilst dating girls who aren’t afraid to parade their right to be nude in front of others. One last noteworthy character would be ‘the pervert’ who is Josee’s next door neighbour. He is a desperate man who will take out your rubbish if you let him feel your boobies.

Josee is obviously a fighter and has had to be because of her condition and this has left her with a lack of social skills made up for through her strong character and resolve. She is not the kind of girl who relies on others, except for the necessary things, and has a quiet dignity that initially shields her from Tsuneo’s affable attempts at small talk. However once he breaks through that shield leaving Josee in a fit of tears and pleading for his eternal companionship, the real Josee is let out of the box and we see a beautiful, happy but inexperienced person introduced to the world and all the things she has been missing out on. Trips out with Tsuneo let her confront her fears (see the title) and see things, such as the sea, which leave her exasperated and grateful to be alive just to be able to take in its majestic beauty. Being concealed from the world, or at the bottom of a seabed as she puts it, has made Josee unwise, despite all the knowledge she has from her books.

Tsuneo is genuine and passionate throughout, becoming more and more hypnotised by Josee’s discreet charm and allure which motivates him to do all he can for her (whether it be to get her a book she has desired for a long time or show her the world); not out of pity but out of a true desire he has to spend every moment he has with her.

Josee, The Tiger and The Fish is a film I heartily recommend you see, and if you search the Internet you’ll find I am not in the minority in saying this. There is nothing negative to say about it as it manages to dance the line dividing a meaningful drama from silly humour. Seeing Josee become more able to feel comfortable with her need to love someone is gratifying; as just as alluring it is to see her brood, it is even more appealing to see her smile and giggle in the throes of a love she never thought she would experience. As with most J-films the pacing is slow and steady, aided by the naturalistic choice of symbolism, the occupations (both literally and figuratively) and the basic plot driven narrative.

Add CommentsAdd Comments
26
Vote
Shared on
   


Shikoku (LINK)

On the island of Shikoku a mother wants to revive her deceased daughter, so she can inherit her place as the next high priestess. As a result, dark powers are being awakened that have been sealed for many years to keep the dead from inhabiting it.
Shikoku Poster

The story begins with three childhood friends who live on the island called Hinako, Fumiya and Sayori. One day Hinako spies through a crack in the door, something happening to Sayori. It is a Shinto ceremony of some sort, alluding to the opening scenes of a girl being what looks to be exorcised. Sayori makes Hinako promise not to tell anyone what she has seen, not even Fumiya, threatening to end their friendship if she does. This won’t matter much anyway as Hinako is soon to move away from the island, leaving her friends and the memory of this event in the past.

After Hinako’s departure the subsequent scene shows her returning as an adult in the hope of reuniting with her old friends. Having seen a peer from her school days, Hinako (Yui Natsukawa) is told that Fumiya (Michitaka Tsutsui) still lives on the island but Sayori (Chiaki Kuriyama) has passed away in a drowning “accident” that happened whilst in High School. It is from this point that things start to get a little strange in Shikoku as Sayori makes her ghostly presence known to Hinako, haunting her till she is given corporeal form by her mother’s pilgrimage to all 88 temples to restore her.
Sayori haunting Fumiya

The island of Shikoku is like a microcosmic world of its own, steeped in folklore and tradition and disconnected from the modern Tokyo lifestyle, which Hinako returns from when she revisits her childhood home after the fifteen or sixteen years that it has been. It is a place that houses a portal in a cave beyond a gate that the villagers are afraid to go through because it gives access to an underworld called ‘Yomi’, where it is said that the dead still have bodies. It is here that Sayori’s mother will end her pilgrimage, with the agenda of resurrection in mind.

The story, sound effects, location and architecture reminded me very much of the Project Zero/Fatal Frame computer game trilogy. The story that ran through this game series dealt also with the occult in Japanese superstition and folklore including shrine maidens who were sacrificed in villages and ghosts in kimonos who sauntered around haunted mansions begging to be reunited with lost loves, whilst you the player investigated the mystery behind it all (with a camera as a weapon...cool no?). In fact the resurrection of Sayori leaves her in a similar kimonoed state as these ghosts, in search of Fumiya who she loves, pleading with him in a very languid and delicate manner as she slowly approaches. There are plenty of shrines and temple like buildings amongst the valleys, forests and rivers within the shanty towns of Shikoku. Pastures that intertwine with roads, dirt paths and gates all bear resemblance to the design in Project Zero. The film is even haunted by the meticulous light clicking of ceremonial bells and chanting every now and then, to create a seance like ambiance. However these similarities are probably not that unique as I’m sure that such characteristics are inherent in this style of ghost story; nevertheless it needed to be acknowledged.
Project Zero Still

The film isn’t really a horror though it does have all the elements that you’d expect from one such as the suspenseful investigation of the folklore through journals and interviews, that don’t do too badly in trying to follow in the footsteps of Ringu. However Shikoku doesn’t have the tension, the sense of foreboding or the intrigue that Ringu did not only because the storytelling wasn’t as interesting, but also the cinematography was not bleak like Ringu which gave it its power. Having said that, the cinematography in Shikoku is beautiful, especially the last scenes of the film. The lighting is magnificent whether it is beams of light breaking through the glades, the flickering shimmering reflections of the ponds and rivers on the characters, the apparitional pale blue hues that glow from Sayori (remember Mr Burns in The Springfield Files), the orange torch light and other artificial light that illuminates eerie contrasts with the blues and turquoises, all of which emphasise characters or ceremonies and create a really moody and hypnotic fantasy effect. The camerawork is also nice, positioned to give the feeling that Sayori is watching Hinako and Fumiya from beyond the grave, whether it be nestled in a tree, creeping up behind them or peering round from a corner.

Being not much of a horror horror, what is it? To me it seemed like a story about friendship and memories; the melancholy that comes with being nostalgic and the laying to rest of “demons” that plague those who have been killed before their time, such as Sayori or have uncauterised emotional ties such as Hinako. It is also about a sincere romance that develops, between Hinako and Fumiya, from a friendship that doesn’t seem to have been weathered by absence or time. It builds up subtly and even the intimate scenes are not overdone or exploited for shock value. It’s as though by uniting themselves they can move on from Sayori’s death, unfortunately this seems to only incite jealousy in her, which produces the dramatic tension of the film’s conclusion.

Finally, reasons to watch are for the great location, cinematography, authentic mythic ambiance and of course Chiaki kuriyama’s short but sharp performance as (adult) Sayori, who you may remember as Gogo Yubari from Quentin Tarantino’s Kill Bill.


Add CommentsAdd Comments
42
Vote
Shared on
   


The Machine Girl: Tokyo Shock Shocks Again (LINK)

The Machine Girl Poster 1

The Machine Girl is one helluva film and when pitted against other similar gory Tokyo Shock releases such as Versus or Ichi the Killer it definitely comes out the squelchiest. In fact I’m willing to bet pounds for pennies that they actually soaked the film stock in blood before shooting. Blood spurts, sprinkles, pours, explodes, sprays, sprays and sprays even more from gashed arteries and severances, the bodies of which are turned into super-soakers (yeah a decapitated body is actually used as a water pistol) The amount of blood isn’t really what makes this film special though, it is the ingenious murder methods, the outrageous use of weapons, the choreography and the feeling that this is what a j-drama would be like if it was made by insanely sadistic ninja-demons who when they’re not going on killing sprees, like writing scripts about going on killing sprees. Wait, there’s also the dynamic characters such as the lead school-girl she-devil Ami Hyuga (Minase Yashiro) who is hungry for the revenge of her dead brother; Miki (played by a 22 year old pornstar named Asami) a really tough but beautiful mom who wants revenge for her dead son; and a marriage made in Yakuza lunacy with the two main villains of the piece, Ryuji and Violet Kimura being so merciless but ridiculous that it’s hard to despise them for being so nasty because they are so compellingly unhinged for parents.
Miki and Ami are ready for battle

The film is about a parentless teenage girl named Ami who seeks revenge against a group of bullies, the leader of which is the son of the Yakuza, for murdering her younger brother Yu. After finding her way to the Yakuza household she makes a brave attempt, fighting past ninjas and their arsenal of Shurikens, to kill Sho (the son) but unfortunately is unsuccessful, leaving her to be tied up and sliced at will by Ryuji the father and master, a finger at a time. Needless to say Ami ends up losing her left arm but manages to escape only to collapse outside a mechanics shop. The mechanics shop is run by the parents of Takashi (Yu’s friend) who was also killed by these bullies, and after some initial animosity between Ami and the mother Miki, they put their differences aside and decide to team up to get their pound of flesh (putting it mildly) from those that have taken their loved ones. Miki’s husband helps by stitching up Ami’s severed arm and building for her a machine gun that causes so much entertaining havoc.

As the film goes on and reaches it’s end you’ll really wonder how Ami was able to have her life destroyed, undergo fatal bloodletting (the more blood she loses the more focused she seems to get) and go from a sporty, pacifist achiever to a black belt, killing machine with little training, within the space of a couple of days. Oh, I apologise, it seemed I was trying to take this film seriously, something that is impossible to do if you are to enjoy it in the slightest. Don’t go trying to figure out where Ami gets her superhuman strength from either or why her amputations/mutilations just stop bleeding whilst everyone else that suffers inferior wounds dies immediately. You will only do yourself harm if you try to rationalise The Machine Girl, what’s better is to see it as Noboru Iguchi’s take on 1 Litre of Tears but with an obvious adjustment.

It may seem like there is nothing new going on with this film, what with limbs being replaced with weaponry, vixens on the hunt for vengeance and a nice big gang of bad guys to be slaughtered, but breaking new ground isn’t the film’s objective and the absurdity, due largely to the cultural idiosyncrasies of the Japanese in film, is what makes it outshine other efforts it has been compared to like Grindhouse, more specifically Planet Terror and dare I say The Evil Dead. This is because what we’re seeing are exaggerated action voices, facial expressions that range from rockstar to cute puppy and ordinary folks such as a schoolgirl, some average parents suddenly turn terminator even when it comes to a slight provocation. One scene that illustrates this well is where Ami goes to the house of one of the boys that was bullying her brother (and helped in his eventual death) to have a civilised talk, but what she gets is an encounter with a seemingly sweet and frail housewife and a proud father, the former of which cackles like a hyena whilst trying to deep-fry Ami’s hand in Tempura and the latter becoming a ninja Nick Faldo, brandishing golf clubs like a pair of Sai, when all she wants is answers (well at this point that all she wants). Also, the actual execution of death scenes will leave you breathless as you will become so enthralled by them breathing may be demoted to being a tertiary function. There is even a throwback to Tetsuo the Ironman whereby a pneumatic drill for a penis is replaced in this instance with Violet’s steel bra that has drills on each cup. To see it rip through Ami’s breasts while she screams bloody murder was definitely the most uncomfortable scene for me.
Yakuza Ryuji Kimura and his flying guillotine

All in all The Machine Girl is just a cooler and more stylish film than those action/horrors that have preceded it, because it not only has you nodding your head going “that was mental” or in shock at how deranged Noboru Iguchi makes even normal characters to be, but also because it can take ideas that have been recycled over and over and make them fresh again, as though you were seeing someone being shot, stabbed, sliced or decapitated in film for the first time.

Comments (2)Comments (2) Add CommentsAdd Comments
42
Vote
Shared on
   


Tokyo Decadence: Erotic Sex or Dangerous Fantasy (LINK)

Tokyo Decadence


The subculture of BDSM is vast in its categorisation being that the acronym stands for bondage, discipline, domination, submission, sadism, masochism, master, slave all of which explode in Ryu Murakami’s dark, sometimes comic sometimes sweet but always vulgar film Tokyo Decadence. The outline of the film is that of a subservient 22 year old woman named Ai who works as a mistress, servicing all kinds of clientele from controlling mafia or corporate bosses to hedonistic rich but extremely nutty/flamboyant layabouts to pathetic salarymen who crave humiliation


[ Click here to read more ]
Read MoreRead More Comments (2)Comments (2) Add CommentsAdd Comments
54
Vote
Shared on
   


Memories of Matsuko - New York Asian Film Festival favourite (LINK)

Memories of Matsuko Poster

Memories of Matsuko is a film by Tetsuya Nakashima about a woman named Matsuko Kawajiri (obviously…well I guess it could have been a man…anyway) and the key stages of her life from when she was a child to her death. The story is "told" from different perspectives including her brother Norio, an old friend/fellow convict/pornstar Megumi Sawamura (played by Asuka Kurosawa who you may have seen in A Snake of June) and Yoichi Ryu an old pupil of hers from her school-teaching days. The purpose of this journey into Matsuko’s past is to teach her nephew Shou Kawajiri (son of Norio) a thing or two about life and to help him not make the same mistakes as she did. You see, at present Shou is a nineteen/twenty year old waster whose full time occupation, besides trying to be a guitarist in a rock band, is drinking alcohol and watching porn.

[ Click here to read more ]
Read MoreRead More Add CommentsAdd Comments
37
Vote
Shared on
   


Gojira!!!!!!!!!!!!!!!!!!!!!!!!!!! (LINK)

Gojira – 1954

Thundering beats of Gojira’s footsteps inaugurate Ishiro Honda’s film that most of us have heard much about but yet are still moved with feelings of uneasiness. Then comes the roar of a monster that has been trivialized by numerous incarnations, but nonetheless strikes fear in the hearts and minds of those who choose to see Gojira in his ultimate glory


[ Click here to read more ]
Read MoreRead More Add CommentsAdd Comments
53
Vote
Shared on
   


Sakuran: the popping of cherry blossoms (LINK)

Sakuran is a Japanese Edo-period drama film released in 2006 starring model-J-Rock artist-actress and all around badass Anna Tsuchiya. The film is based on a manga series by Moyoco Anno and was adapted to the screen by photographer turned director Mika Ninagawa. Given that this is Ninagawa’s directorial debut it is remarkable that she has managed to visualise another period of time and assemble it with such clarity, accuracy and creativity as she has done. Apparently in interviews she has commented on the fact that she went through a vast amount of Ukiyoe (woodblock) prints to get to grips with the visual style of Yoshiwara (a famous district for prostitution) and based a lot of her modern, colourfully illustrated designs and patterns on the classical art of Edo.

Sakuran utilises lush and juicy colours to express the elegance of the Tamagikuya (brothel) establishment as well as the courtesans it houses, who dressed in outfits of fluorescent oranges, reds, yellows, purples and blues; with thickly painted faces, appear doll-like more than anything else. Murials of dragons and flowers; and stained glass windows of the same hues enshroud these women who are knelt, smoking their pipes and gossiping, awaiting the attention of some Samurai or Taros. There is one woman who seems to gain more attention than any of the others, standing out because of the nonchalant way she drags on her pipe, her inviting eyes and indifferent smirk as she whispers “come in, come in” to a prospective lay. This is Kiyoha, the first of several names she is given denoting her position on the hierarchical ladder, played by Anna Tsuchiya. Though prior to this she has only had two other starring roles in Kamikaze Girls and Bashment, she has never looked as gorgeous or had as much sex appeal as she does in Sakuran, making a move from the cool but cutesy Ichigo to the voluptuous and composed (well most of the time) Kiyoha


[ Click here to read more ]
Read MoreRead More Comments (3)Comments (3) Add CommentsAdd Comments
60
Vote
Shared on
   


Welcome to the Quiet Room: Where to go, what to do.

Immediately Suzuki Matsuo, director, screenplay writer and original novel writer of ‘Welcome to the Quiet Room’ of which this film is based, lets the viewers know that a film that is titled after a method of submission used in psychiatric wards is not going to be as melancholy as you’d expect. Enter room; man sitting in chair being interviewed by two female reporters from a television magazine studio. He begins by blowing up a balloon and then popping it in an attempt to make an artistic statement. He certainly is an unusual character not least for the fact that he has a safety pin pierced through his right ear where you’d be expecting to see an earring. What does he have to do with the events that are about to transpire? Absolutely nothing. After this initial scene the film swiftly establishes that one of these reporters is to be our anti-heroine as she splits off from her colleagues to go to her next interview; or at least that’s where we think she is going. In actuality none of this has happened.

Asuka Sakura (Yuki Uchida) has in fact been taken to a psych ward after having overdosed two days ago on the suicide cocktail of choice; alcohol and sedatives, and is only pulled out of this dream world after receiving a text message from her roommate/boyfriend. I say roommate/boyfriend because the relationship she has with Tetsuo Yakihata (Kankuro Kudo) is one that is never firmly established in its nature. This isn’t surprising given the carefree and irresponsible traits that they both possess. Anyway, after being pulled out of the meeting she thinks she’s in, and back to reality, Asuka finds herself being pushed along on an emergency hospital bed of which she is strapped to and breathing through an oxygen mask. Various close-ups and acute angles show the bewildered look on her face as she takes in the cold, white walls that surround her and the blinding light that is shining down from the ceiling


[ Click here to read more ]
Read MoreRead More Comments (2)Comments (2) Add CommentsAdd Comments
68
Vote
Shared on
   


Strawberry Shortcakes: Oishii desu yo

Strawberry Shortcakes is a film that revolves around four independent yet vulnerable women growing up in contemporary Tokyo. To give you some idea, I would describe describe it as The Joy Luck Club meets Lost in Translation. For women especially, Japanese society has become a fast paced environment to try and adapt to because of developments that have changed their place in society in the last sixty years or so. Women played a predominantly subservient role in Japan as it was pre World War II and the feudal system gave them very little say in the way in which they would be allowed to live their lives (though at least they are security). However since US Occupation and the influx of western values that have insidiously weaved their way into the hearts and minds of the newer generations, women have accomplished a lot more as autonomous beings, but have also been left to pick up the pieces of their shattered identities and try and fit together dusty old jagged pieces with new cutthroat ones. Many women fail at this and get left off the bullet train going 200mph into a future where old and new must gel together, resulting in a superwoman that can both have the dinner ready and juggle the stock-market.

Hitoshi Yazaki the director of Strawberry Shortcakes is trying to show us in a very quiet, slow-paced, easy-going way that the heroines of his film all have the same thing in common and that is loneliness. This factor is made so much more apparent by subtle aesthetic techniques such as the soft ticking of a clock in the background or the sound of the Shinkansen rushing by at frequent intervals which emphasize the passing of time and the holding pattern of life in the film. Shouldn’t it be odd that the film deals with themes of loneliness and alienation in one of the most buzzing cities in the world? Everything looks as though it is on top of each other with the Shinkansen running right through small neighbourhoods and not far over the heads of people. If anything you get an overwhelming feeling of cosiness running through these shanty town areas of Japan, where even at night things are lit up to give a feeling of life running through it. So why is it that everyone feels so detached and alone and on the constant search for a loving relationship


[ Click here to read more ]
Read MoreRead More Comments (2)Comments (2) Add CommentsAdd Comments
71
Vote
Shared on
   


Apartment 1303: Girls Just Wanna Have Fun

Apartment 1303 is a J-horror ghost story by Ataru Oikawa whereby each new female resident who comes to rent the apartment of the same title meets a smacking end, by jumping off its balcony 13 storeys up. It is thought to be nothing more than suicide by the police until the apartment takes its fifth victim; a sweet, happy, and popular girl named Sayako of whose sister Mariko is adamant that she would never have committed suicide. So the film follows Mariko as she investigates the apartment and does some research upon it and finds out that once upon a time, an abusive mother lived there with her daughter both of whom are now dead.

Poster. Scarier than the film

[ Click here to read more ]
Read MoreRead More Add CommentsAdd Comments
64
Vote
Shared on
   


Kuchisake-Onna: Slit-Mouthed Woman

Kuchisake-Onna or Slit-Mouthed Woman aka Carved is a 2007 film by Koji Shiraishi based on an old Japanese legend. The legend tells of a beautiful maiden who after arousing suspicions in her samurai husband that she was being unfaithful, was disfigured by having her mouth slit from ear to ear by her raging spouse who swore she would never be beautiful again. From this tale an urban myth has been continued by the Japanese people about a woman wearing a surgical mask and carrying a blade of some sort, who wanders the foggy streets asking passer-bys if they think she is pretty. If they say yes, she lets them go on their merry way. If they say no, she will slit their mouth into a similar style as her own.

The film plays pretty much to the same tune as the legend in that a woman with a slit-mouth wearing a mask goes around asking others “watashi kirei” or “am I pretty?”, except it also incorporates a real life panic that stuck Japan in the late seventies when sightings of a woman hunting children were accounted for and spread like wildfire


[ Click here to read more ]
Read MoreRead More Add CommentsAdd Comments
56
Vote
Shared on
   


Marebito: Fear and madness in Tokyo Vegas

Have you ever had the desire to see another side of life but at the risk of losing your sanity? All you have to do is submit your imagination to the devil and allow yourself to spiral out of realities polished grip into a subterranean world of mythology and lore that has its place in the minds of the most twisted creators in the fictional field. This is the desire of Masuoka (Shinya Tsukamoto), the star of Takashi Shimizu’s (Ju-on, Ju-on 2) Marebito, who is desperate to see the horror that becomes hidden by the naked eye. Armed with a camera, Masuoka leads the life of a freelance cameraman, who in his spare time indulges in his voyeuristic tendencies by setting up cameras that peep into the lives of others, whilst he watches from his cyber-styled black-hole of an apartment that is kitted out with numerous computers and television screens.

Marebito Poster

[ Click here to read more ]
Read MoreRead More Comments (6)Comments (6) Add CommentsAdd Comments
83
Vote
Shared on
   


Nathan 1's Blogs

I have no other blogs :(
Moderated by Nathan 1
Copyright © 2006 2007 2008 On Topic Media PTY LTD. All Rights Reserved. Design by Vimu.com.
On Topic Media ZPages: Sydney |  Melbourne |  Brisbane |  London |  Birmingham |  Leeds     [ Advertise ] [ Contact Us ] [ Privacy Policy ]