Author/illustrator Sanpei Shirato’s Ninja bugei-cho was a popular graphic novel serialized across Japan in the 1960s, well loved by students and leftist radicals for its tale of a young boy’s alliance with a band of ninja during a peasant uprising. Nagisa Oshima takes an experimental approach to adaptation; out of deep respect for Shirato’s artistry (and his usual cinematic prankishness), he films Shirato’s images as they appear on the page, like an anime version of Sans soleil, with the camera hovering and darting over each “scene” to provide movement and life. Adding voices, sound effects, and a narration that connects the plot’s myriad strands, Oshima intervenes in yet another unexpected genre to create a fascinating treatise on cinema, narrative, and action.
Tag: 1960s
When a rapacious new landlord threatens to evict him, seize his horse, and leave him penniless, the young farmer Dick Turpin flees to London and reluctantly establishes himself in the underworld with the help of a street-smart boy.
Czech immigrant Frantisek Král has a terrible car accident in West Berlin. The West German secret service immediately takes advantage of the situation, provides him with a new identity and starts training Král, who is suffering from partial amnesia, to become a spy and to get hold of a microfilm from Prague. At first everything goes according to plan, but when he realises his home town is anything but the dreary, suffering place that had been drummed into him, things move in a different direction…
A professor investigates the killing of two men during a hunting trip and becomes fascinated by one of the widows of the victims. As he gets closer to the truth and discovers not only mafia, corrupt police but also church connections, the reality indicates that there can only be one end for the professor.
Popular jazz drummer and actor Frankie Sakai stars in this comic version of the “industrial competition” genre: two tourism companies compete for foreign clients in the run up to the 1964 Tokyo Olympics. Highlighting the coming internationalization of Japan, the film dramatizes the felt tensions between tradition and modernity, the pressures of the “economic animal” lifestyle, and the energy of high economic growth. The closest Japanese cinema ever came to the full-blown Broadway style musical, with singing and dancing on the streets of Tokyo, music by avant-garde composer and jazzman Toshiro Mayuzumi, lyrics by renowned poet Shuntaro Tanikawa.
Two men, who have been fighting on the enemy sides in WWII, meet in the jazz club twenty years after. Mladen, who was a partisan at the time, recognizes a familiar face of a man whom he was supposed to shot, but missed on purpose.
Nine-year-old Vanyo often plays with wooden swords and cardboard knight’s armour. He gradually confronts the life of grown-ups. The boy is confused – why do his parents say one thing and do another? Vanyo feels increasingly lonely and, in his thoughts, he talks to the only person he trusts – his uncle Georgi. It is only with him that the boy feels happy. Together, they go to the printer’s, to rehearsals at the theatre, and they watch movies. Uncle Georgi never interrupts Vanyo’s words and questions; he treats him seriously. How is this tiny knight going to enter life without an internal armour against rudeness and egoism?
——UPGRADED——
In this intense adaptation of the classic Albert Camus novel, Arthur Meursault is a bored clerical worker in 1930s Algeria who is completely isolated from his surroundings. His alienation leads to sudden, mystifying attacks of violence, and eventually culminates in his arbitrary shooting of a man on a beach. In the ensuing trial, the full extent of Meursault’s existential crisis becomes alarmingly clear to judge, jury and prosecutor.