554 Still Walking

[whaleallright]

Some of his assertions seem pretty dodgy as a matter of fact. For instance, Hou was far from a popular favorite in Japan when Maborosi was made -- though his work was probably being presented in film schools and his films may have been seen and admired by a few cognoscenti.

Hi Michael. I don't have the article to hand, so I can't go back and see specifically what Stephens had to say about this. But my sense is that while not a "popular" director (in that he was consigned to the art-film market), Hou had, in the mid-late 1990s, considerable cachet among Japanese critics and cinephiles. Japan was one of the first places his films were noticed, they were consistently given theatrical releases (not the case in the USA or much of Europe at this time), and starting around that time his films were made with Japanese backing (mostly from Shochiku). A lot of Hou schwag was available in Japan at that time: mini-posters, coffee-table books, and the like. So I think what Stephens is driving at is that Kore-eda, who was certainly in this cinephilic "circle," was latching on to a style that had currency in that context--critical if not commercial.

I'm sure that Kore-eda had a genuine sympathy for Hou's approach. And he wouldn't be the only talented Asian director to assume a "Hou-like" style (there's also Hong Sangsoo, Jia Zhangke, etc.). I think Stephens was implying--and I'd half-agree--that the overall shape of Kore-eda's career makes it appear as though his jumping from style to style suggests opportunism or at least fashionability. I think all his films are made with considerable filigree but in the worst cases (e.g. NOBODY KNOWS, DISTANCE, AIR DOLL) they feel distinctly second-order, much like contemporaneous films by Sophia Coppola.

That said, I greatly admire AFTER LIFE and STILL WALKING, as well as those of his documentaries I've been able to track down.

[Michael Kerpan]

If Distance, Nobody Knows and Air Doll were the best films in a director's portfolio, I'd say that director was a very fine director. (In other words, I guess I utterly disagree with both you and Chuck Stephens) ;~}

[daniel p]

I'm with Michael; Nobody Knows, Distance and Air Doll are all fabulous films, his strike rate is incredibly rare if you ask me (without having seen Hana or his documentaries).

[Minkin]

Beaver

[jbeall]

Gave this a shot on netflix instant viewing and loved it. Unfortunately, I really haven't watched enough Japanese cinema to situate Kore-eda within the tradition, so I hope it won't come across as a backhanded, West-centric comment to say that this film reminded me in some ways of Assayas' Summer Hours (which was probably my fave Crit from 2010). Obviously, they're very different films, but their meditative and non-judgmental treatment of similar themes was quite moving.

Definitely picking this one up, and adding Kore-eda's other films to my queue.

[Michael Kerpan]

Both Assayas's film and Kore'eda's are, to some extent, homages to Ozu's post-war films. While I liked Summer Hours quite a lot, I think Kore'eda's film was both a better homage and a better film overall. (At least the family dynamics in Kore'eda resonated far more with me than those in Summer Hours).

[Finch]

The Kore-eda resonated much more with me as well even though I quite liked Summer Hours. I can only hope that some more contemporary Japanese films find a Western Blu-Ray release and that Still Walking isn't a one-off.

[Michael Kerpan]

I can only hope that some more contemporary Japanese films find a Western Blu-Ray release and that Still Walking isn't a one-off.

Don't hold your breath. ;~{

I see no reason for optimism -- virtually all of Japan's most interesting new films will continue to be accessible (at best) to a few festival audiences (except for the handful of films that Third Window releases, bless their hearts). If Still Walking does REALLY well, however, perhaps one can hope for BR releases of the earlier Kore'eda films -- Maborosi, After Life and Distance (never released in the US -- perhaps because it views terrorists as humans, albeit very troubled humans).

[Finch]

Maybe some of his films will get a Japanese Blu and just maybe it'll have English subs. At least the Japanese DVDs can be found for very decent prices on ebay; Afterlife was the only one where I had to use yesasia as a last resort.

[Michael Kerpan]

YesAsia's prices (when shipping is factored in) are usually cheaper than prices on ebay (except for all the pirated copies -- which ARE cheaper). Kore'eda's (feature) films and Kitano's films are the only Japanese DVDs/BluRays fairly sure to have English subtitles. (More recent releases by Ogigami and Kawase too -- so far).

Kitano's Outrage just got a subbed BluRay release in Japan -- too bad its probably his worst film ever (not too mention WAY to graphically violent for me).

[Finch]

Michael, I actually got two of Kore'eda's other films for $10 on ebay while they fetched twice to three times that amount on yesasia (if you want, I can PM you the sellers' names). I also got Koki Mitani's films for the same prices from ebay (well, The Wachouten Hotel I had to get from a store in HongKong, again only for $10 + delivery). There's no way that yesasia is selling Japanese DVDs + Blus for cheap; one is lucky if a title is selling for a mere £18. Oh, and all the copies I got from ebay and HK were the real thing, the legitimate Japanese discs.

(Older films, especially jidaki geki films, are another matter entirely, and I don't condone bootlegs as such but if they are the only means of obtaining the films with English subs, for instance, Kenji Misumi's Destiny's Son or the Red Peony Gambler series, or Tenchu with Shintaro Katsu, then I'd resort to a bootleg as the last resort).

[Michael Kerpan]

I've gotten burned on ordering what I thought were legitimate Asian releases on eBay (prices low -- but not so low as to be suspicious). (No such problem when I ordered the Finnish Kaurismaki DVDs -- which came out ages before the US and UK releases).

BTW -- Uchoten Hotel has the stupidest English name ever -- Uchoten is roughly equivalent to Seventh Heaven or Paradise. There is no reason why it should be changed from Uchoten to any other foreign sounding word. ;~}

Japanese BluRay and DVD releases ARE very expensive (but are less expensive than they were 10 years ago -- when Takahata's Gauche the Cellist was priced at $80). Japanese DVDs of Kore'eda's earlier films were some of the most reasonably priced releases of their day, though still expensive by US standards.

I tend to view films not distributed by their rights holders as legitimate objects for gray-market purchase -- for educational purposes, of course. But one can get burned on these (though some legitimate Japanese releases of rarities are pretty poor yet still expensive -- such as that of Mizoguchi's Straits of Love and Hate / Aien kyo).

[triodelover]

FWIW, if you are ordering multiple titles, Amazon Japan generally works out to be cheaper than Yes Asia given the current exchange rate. It's ¥1700 for the first DVD but only ¥300 for each added unit. Amazon removes taxes from the listed prices (approximately 15%) and Yes Asia's prices essentially having Amazon's shipping charges rolled in. Amazon uses FedEx International and every order I've placed has arrived here in the US on the second day after placing the order (for in stock items). Amazon Japan isn't easy to search. The search function only accepts titles in Kanji. But you can cut and paste those from the Yes Asia site or use links (when available) from places like DVD Beaver. Of course, you'll need to find out subtitle info and the like elsewhere because switching to English provides minimal info for a given listing.

[htom]

Not having actually watched (or opened) the Blu-Ray yet, I have to note that Kore-eda's doodle signature on the "director-approved" sticker was amusing...

[domino harvey]

Sorry to actually talk about this film in the thread devoted to it, but I do have some thoughts. As mentioned, the film is wonderfully universal, and so on a basic personal level, I too recognized so many family members and situations and family dynamics that occur on these weird quasi-holiday one-off events. My family too comes together once a year to celebrate, for lack of a better word, the death of one of our own, and it really is a sort of toxic ritual. The aged doctor and his wife are sacrificing a good time (New Years) for a bad one, but the dynamics would almost surely be the same. In an observant film like this, it's the little details that sell everything: the dynamite depiction of the little siblings running around and engaging in flippant narcissistic discussions, the feel of an empty spare room in another family member's house in the late evening hours, the communal space of the kitchen, the ease of which family can drift in and out of negative and positive sniping, &c. With such a grand treatment of family dynamics, this is notably the kind of movie that the people in my life who say they hate subtitles would probably get the most out of!

[Michael Kerpan]

With such a grand treatment of family dynamics, this is notably the kind of movie that the people in my life who say they hate subtitles would probably get the most out of!

Totally agree. I have a sister who would LOVE this -- but for the fact that she will not (under any circumstances) put up with anything in a foreign language. ;~{

[Jean-Luc Garbo]

I watched this last night and loved it. Understated acting, perfect pacing, and beautiful photography. I identified with it completely. Aside from the national/racial differences, it was almost like looking in a mirror. This is one of the best films that I've seen in awhile.

[FilmFanSea]

I finally caught up with this film last night (Blu-ray) and thought it was a masterpiece. I had previously enjoyed Mabarosi, Afterlife, and Distance, but this was my favorite Kore-eda so far (I still look forward to Nobody Knows and I Wish). I was certainly reminded of Ozu in many parts: the opening establishing shot with the red train running in the distance; the shots of empty spaces (like the broken tile in the tub); the static camera positioning. The interviews with Kore-eda (and his DP, Yutaka Yamazaki) are very interesting. The director himself sees his style for this film as closer to that of Naruse than Ozu. The acting, as Michael said earlier in this thread, is uniformly strong and, for me at least, it was not a slow film (unlike, say, Hou's Flowers of Shanghai, which I found to be interminable). The only misstep is maybe the brief voice-over section near the end (it was interesting that Kore-eda also viewed this as unnecessary in his interview). I warmly recommend this to anyone who enjoys family drama.

I particularly love the scene with the retired physician father bathing, with his wife conversing with him (obscured by frosted glass). It's a major revelation, but it's handled so subtly.

[Michael Kerpan]

When one loves every film that a director has made, it is pretty hard to pick a favorite -- but Still Walking is a contender. Nobody Know and I Wish (and Hana yori mo naho and Air Doll, which you don't mention) are wonderful -- but I like Still Walking still more.

If you like I Wish, you might want to look for Yamashita's Tennen kokekko (Gentle Breeze In the Village) and (of course) Linda Linda Linda.

For what its worth -- the Japanese title actually would (loosely) translate to "Keep Walking, Keep Walking".

If someone released Hou's Flower of Shanghai with a "scorecard" and a map, I bet people might find it easier to enjoy. I got lost on my first viewing -- and fared far better the second time through.

[FilmFanSea]

When one loves every film that a director has made, it is pretty hard to pick a favorite -- but Still Walking is a contender. Nobody Know and I Wish (and Hana yori mo naho and Air Doll, which you don't mention) are wonderful -- but I like Still Walking still more.

If you like I Wish, you might want to look for Yamashita's Tennen kokekko (Gentle Breeze In the Village) and (of course) Linda Linda Linda.

For what its worth -- the Japanese title actually would (loosely) translate to "Keep Walking, Keep Walking".

If someone released Hou's Flower of Shanghai with a "scorecard" and a map, I bet people might find it easier to enjoy. I got lost on my first viewing -- and fared far better the second time through.

Hana and Air Doll both flew under my radar. It looks like Hana can be had cheaply in R1 from a label called Funimation (never heard of it), but Air Doll will be a little more difficult (or at least more expensive) to acquire. Also looks like the US MGM edition of Nobody Knows is available and inexpensive.
Haven't heard of Yamashita Nobuhiro before, but thanks for the recommendation.
Someday I'll try to tackle Flowers of Shanghai again. I recall the cinematography as being very beautiful, and I like Hou's early films (from the Sino box), but that film works on me like high-dose Ambien.

[FilmFanSea]

Correction: Nobody Knows has been discontinued by MGM, but is still cheap & plentiful among Amazon.com vendors.

[Michael Kerpan]

Yamashita (some of the time) and Naoko Ogigami (pretty much always) are prime practitioners of what I call neo-Shimizuesque cinema. I am eagerly awaiting the chance to see Ogigami's latest -- Rentaneko / Rent-A-Cat.

Funimation largely is the purveyor of anime -- but they have released a few random live action films. Hana is an interesting counterpart to Yoji Yamada's poor samurai films -- both lighter and more philosophical (a small scale story about private vengeance, taking place as the events of 47 Loyal Ronin take place).

Flowers like City of Sadness needs multiple viewings (but a study guide would help). It is not that nothing happens in Flowers but there is actually so much information (often being provided in a low-key fashion) that one has trouble processing it all.

[kinemax]

Any chance After Life will get a Criterion (or Eclipse) release?

[Sonmi451]

Finally caught this last night, and I basically enjoyed it very much, but I'm wondering if anyone knows if there is a story behind Ryo's voiceover at the end of the film? It felt so tacked on and unnecessary -- in stark contrast to the beautiful subtlety and nuance of the rest of the film -- that I'm curious if it was added for Western audiences. It was almost enough to ruin the film for me, but not quite.

[Michael Kerpan]

Finally caught this last night, and I basically enjoyed it very much, but I'm wondering if anyone knows if there is a story behind Ryo's voiceover at the end of the film? It felt so tacked on and unnecessary -- in stark contrast to the beautiful subtlety and nuance of the rest of the film -- that I'm curious if it was added for Western audiences. It was almost enough to ruin the film for me, but not quite.

No -- "not added for Western audiences". Japan has a long tradition of voice-overs of this sort in family dramas of this sort. Ozu doesn't do it, but Naruse does sometimes. And (IIRC) Ichikawa had one in "I Am Two" and Yamada has one in his "Twilight Samurai". Not the most common technique, but not all that rare. It didn't bother me at all. ;~}