Four Sisters (1985) [Film Review]

Four Sisters; or, Bildungsroman: The Movie
     My dear sister. You've done nothing wrong. Not wanting to let her go shows that you've really taken up the role as her mother.
The year 2022 is slowly but surely nearing its end. A lot of stuff has happened to me personally, but in terms of movies, the running theme through many months was the filmography of Nobuhiko Obayashi. From Third Window’s Anti-War Trilogy release to their recent Kadokawa Years boxset, I have been fuelled by a desire to discover the idiosyncratic grandeur of this auteur filmmaker. As some of the blog readers already know, the result of my deep dive became An Ultra Fan’s Guide to Obayashi Nobuhiko. However, I believe there is still more to be said about this particular director and his movies. To be specific, I would like to talk about one of his motion pictures which is calm, romantic, and deeply melancholic. That is, Four Sisters, a perfect fit for a windy Autumn evening.

Release Info

Directed by: Nobuhiko Obayashi Starring: Atsuko Asano, Yasuko Sawaguchi, Misako Konno, Yasuko Tomita

Language: Japanese Original Title:  姉妹坂 Runtime: 101 min

Synopsis
Meet the Kitazawa family. Four sisters: Aya (Misako Konno), Akane (Atsuko Asano), Anzu (Yasuko Sawaguchi), and Ai (Yasuko Tomita) live in their parental household in Kyoto. Two high school friends, Ryo (Toshinori Omi) and Togo (Ichirota Miyakawa) compete against each other to win the heart of Anzu, which sets in motion a chain of events in the course of which the sisters discover that they are not related by blood. Each sister will have to cross into adulthood on her own terms, facing hardships and real-life drama along the way.

Shoujo Magic
I have to say that Four Sisters does not get a lot of recognition among Obayashi fans because it is not (for lack of a better word) “Obayashi-enough”. There are no vampires, evil children, or pianos that eat people. Four Sisters is what the title suggests: a story about four sisters. The editing itself and Obayashi’s visual stylistics are quite reserved indeed, but it does not mean they are totally absent. Obayashi divides the film into three separate chapters which, thanks to director’s wit and perceptive eye for details, function as memoirs taken straight out of a photo album. In fact, the beginning and end of each section are reminiscent of Polaroid photographs.

There is not a lot of information about the film online, but it seems clear that after Obayashi’s successes at Kadokawa with such movies as School in the Crosshairs (1981), The Girl Who Leapt Through Time (1983), and The Island Closest to Heaven (1984), the Toho Studios wanted to profit from the emerging trend of idol eiga, so they brought the director on board, gave him a shoujo manga called Shimaizaka to adapt, and showered him with their most promising pop stars they had at that time.

Evidently, as usual throughout the 1980s, Obayashi did his magic and put a personal spin on the source material while trying hard to bring out the best performance out of the leading ladies. Consequently, Four Sisters is a compelling coming-of-age drama. It is a story about growing up and finding love as well as inner peace, but certainly not in a conventional way.

Common criticism of the film is that it is too short and some of the subplots concerning the titular four sisters are not greatly elaborated upon. In my opinion, Obayashi was not going for a three-hour epic, but he wanted to create this bildungsroman-like ambience done in the style of the Brontës’ novels. Consequently, the movie is not so much about the exposition but about emotion: motherly love for a child, and longing for a loved one.

This aspect takes me back to the issue of visuals and editing. As I stated previously, Obayashi does not use fast cutting, different frame rates, or a mix of coloured scenes with black-and-white ones. In Four Sisters, when Obayashi wants to convey something intimate, he places a character in front of a camera and uses a really big close up. When he wants to get an unnerving feeling, he plays with the geography of a scene, changing a character’s position in a conversation (see Akane’s medical appointment).

What is more, Obayashi presents us with truly outstanding cinematography. Each and every scene: the framing of characters, their placement within glorious outdoor settings, all of it has meaning! To me, some of the shots like, for example, Akane crying over her mother’s grave, Anzu dancing, or Ryo standing near a stream next to a hospital, are just absolutely breathtaking.

Speaking of the performances, undoubtedly, each and every leading lady gets to shine on the screen, but the true show stealer is Atsuko Asano as Akane. Had the movie been made and released today, I am positive that she would have won an Oscar for her role of a bitter, yet deeply mature and sensitive sister. More words of praise go to Toshinori Omi who, in my opinion, delivered in Four Sisters his best performance out of all Obayashi films he appeared in. Omi no longer plays a sweet schoolboy but a real man who is head over heels in love with Akane.

Yasuko Sawaguchi, known from The Return of Godzilla (1984) does a great job as Anzu. Misako Konno is memorable and graceful as the oldest sister Aya; whereas, Yasuko Tomita is indeed noticeable as the youngest sister Ai. Tomita also played the leading part in Obayashi’s Lonely Heart which was released the same year as Four Sisters. In addition, a whole array of Obayashi’s frequent collaborators such as Yumiko Fujita, Wakaba Irie, Akiko Kitamura, and Toru Minegishi make short appearances as well. Four Sisters was also one of the first major pictures for actor Ichirota Miyakawa who played Anzu’s love interest, Togo.

Recommendations
All things considered, I personally think that Four Sisters is Obayashi’s highly underrated masterpiece. In fact, allow me to say (write) a bit more. It is one of the few movies out there that actually made me cry. I am not ashamed to admit it. And I cried again as I rewatched it for the purposes of this review. I can only hope that sometime in the future the Criterion Collection of some other company will strike a deal with Toho and release this outstanding film on physical media in Europe and the US. There are so many Obayashi movies out there apart from House (1977) that people need to see!Overall score: 10/10

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Beloved (2022) [Film Review]

Beloved; or, Stay With Me
     I have an idea. How about we spend one last day together? Go somewhere, walk around, have dinner…
Director Bishrel Mashbat is no stranger to this blog as I have already reviewed his feature-length debut In the Land of Lost Angels (2018). I was pleasantly surprised when Bishrel Mashbat reached out to me recently with information that he made a new movie called Beloved. Needless to say, I checked it out and was not disappointed.

Release Info

Directed by: Bishrel Mashbat Starring: Iveel Mashbat, Jana Miley, Charletta Rozzell

Language: English, Mongolian Runtime: 92 min

Synopsis
Anar (Iveel Mashbat) and Kassy (Jana Miley) constitute an inter-racial couple living in the United States. They have been married for five years, but things are not going well. In fact, their marriage gradually falls apart and they two behave towards each other more like roommates than husband and wife. Both of them consider divorce, but are they truly willing to give up on their relationship?

Memories of You
First of all, I have to say that Beloved seems to be a conventional story that has been done numerous times before, but the theme of marriage examination is not as important as that of nostalgia and introspective feelings of the main characters.

It is difficult for me to describe it, but the usage of music by Louis Armstrong, Camile Saint-Saëns, Eric Satie, Tchaikovsky, and Chopin, coupled with top-notch production design done by Nimi Lkhagva evokes this distinct feeling of coziness and warmth that can be found in pictures of such auteur filmmakers as Wong Kar-wai or Hirokazu Koreeda.

In other words, I felt as if I wanted to step into the 4:3 frame and experience the setting surrounding the characters on my own. Consequently, it goes without saying that Bishrel Mashbat is an artist who puts extreme emphasis on visuals rather than dialogue. Therefore, Beloved pulls you in with its ontological aspects (characters functioning in spaces and stuck in the past) rather than with expository means (standard breakaway of marriage).

With regard to performances, of course, I immediately spotted Iveel Mashbat whom I have already seen in In the Land of Lost Angels. In my opinion, he gives a more compelling performance in Beloved due to the general subject matter of the film. Obviously, Jana Miley cannot go unnoticed as well. She did a great job playing an emotionally-torn wife. My praise also goes to Charletta Rozzell who played a supporting but extremely vivid part.

Recommendations
If you are in need of a peaceful, yet thoughtful film, then I recommend Beloved. It officially premiered at the Seattle Asian Film Festival and is currently making rounds at other festivals. I sincerely hope that, similarly to In the Land of Lost Angels, Bishrel Mashabat’s latest film will also make its way to Amazon Prime and/or other streaming service.
Overall score: 7/10

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Tokyo Olympiad (1965) [Documentary Review]

Tokyo Olympiad or, Faster, Higher, Stronger
     The Olympics are a symbol of human aspiration
When it comes to sports-oriented movies, there are three titles which immediately come to my mind: Hoosiers (1986), Chariots of Fire (1981), and Tokyo Olympiad (1964). Indeed, the last picture is primarily a documentary, but in my opinion, it is so much more than a record of the 1964 Summer Olympics in Tokyo. To be specific, this film is also a record of human society from another period, from a different geo-political and cultural climate.

Release Info

Directed by: Kon Ichikawa Language: Japanese

Original Title: 東京オリンピック Runtime: 169 min 

A New Beginning
It goes without saying that ever since its inception, the Olympics constitute a prestigious promotional opportunity for a country hosting the games. Japan understood and took great advantage of that chance. After the horrible period of WWII, the country sought to reform and reintroduce itself into the public spotlight. The 1964 Olympics were exactly the boost they needed. For this occasion, the Japanese government commissioned the making of a documentary that would serve as a special memorandum of this grand event.

Originally, the authorities reached out to the legend himself, Akira Kurosawa, but getting the director in the saddle proved too cumbersome. Allegedly, Kurosawa demanded full control over the opening as well as the closing ceremony of the Olympics in order to fully realise his directorial vision. Consequently, Kon Ichikawa was brought in as a replacement.

From the opening moments, you know that Tokyo Olympiad is more than just another documentary. It is an artistic reflection on sportsmanship, fair play, new Japan, and (most importantly) world peace. Ichikawa’s cinematic approach to the strictly journalistic subject matter creates an image of people locked in time: an image of athletes competing against each other and an image of spectators, Japanese citizens, cheering for those striving to win.

I think one has to be in the right state of mind to fully appreciate Tokyo Olympiad. This documentary is especially important today in view of many changes on the international stage. Evidently, Japan tried to catch lighting in a bottle for the second time in 2020 when they were supposed to organise the new Summer Olympics. Nevertheless, the pandemic struck and the whole preparation turned into a mess that was accompanied by a re-enactment of one scene from Akira (1988).

Ichikawa’s picture shows that the 1964 event was a one-shot deal for Japan to show the world how cool it was. Without a doubt, it was a unique occasion, made exciting by unique sportswomen and sportsmen, which could not have been repeated decades later.

There exist multiple cuts of the documentary, but the one which bears Ichikawa’s seal of approval is the 169 minutes cut released by The Criterion Collection and Tartan Video. Luckly, you can check out Tokyo Olympiad fair and square on the official Olympics Channel website. Please refer here.

Recommendations
All things considered, with its depth and brisk pace Tokyo Olympiad is one of the best documentaries out there. It comes as no surprise that Tokyo Olympiad was the highest grossing film in the Japanese box office until the release of Hayao Miyazaki’s Spirited Away in 2001. The closing credits of the documentary are especially chilling and touching in view of the modern-day context.

Overall score: 9/10

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Shuto Kousoku Trial 3 (1991) [Film Review]

Shuto Kousoku Trial 3; or, Remember Me
     I'll race you anytime as long as it's on the track.
Shuto Kousoku Trial 3 is yet another entry in the popular racing series from Nikkatsu studio. Apart from being a sequel with the shortest runtime (barely 65 minutes), this movie is also known for being the debut flick of Reiko Takashima(!) Without further due, let’s buckle up and drive through the third movie about the legendary Shuto Expressway.

Release Info

Starring: Kazuhiko Nishimura, Reiko Takashima, Ikuo Fukada

Language: Japanese Original Title: 首都高速トライアル 3 Runtime: 65 min

Synopsis
Kyohei (Kazuhiko Nishimura) is a former holder of a record time run at Shuto Express. He retired from illegal racing and now works as a mechanic for Keiichi Tsuchiya’s racing team. Kyohei’s friend, Yusuke (Ikuo Fukada), still hits the street with his Nissan Silvia. One day, while practicing in the mountains, he is challenged by a mysterious driver in a Toyota Supra. Yusuke barely manages to survive the confrontation. Kyohei, on the other hand, witnesses a car accident while practicing in Skyline R32. This event makes him recollect a horrible accident from the past. He tries to persuade Yusuke to give up street racing; however, a friend takes up another challenge from Toyota Supra and dies during the race. Kyohei returns to Shuto Expressway in order to face off against the mysterious driver. It turns out that everything is connected to a tragic incident from the past...

Catch me, darling!
I have to say that Shuto Kousoku Trial 3 is by far the weakest entry in the series, but it is not by any means unwatchable. Evidently, the screenplay is just an excuse to get to car action, but the director interpreted this rule too literally. Consequently, what we have is a film with shoddy editing, only one City Pop song, and (potentially) the best storyline of the series that got lost in translation…

It feels as if well over 30 minutes of footage involving the characters ended up on a cutting room floor, so that there would be more space for decent racing sequences. Honestly, these are the only worthwhile aspects of the film. Interestingly, I could not understand the director’s decision to use only one (great) song: MAHARA’s Crying All Night; and then sync the rest or car action to random incidental music. This creative choice significantly tones down the viewing experience.

Still, I love the appearance of young Reiko Takashima as a journal writing about Keiichi Tsuchiya, and street racing in general. She provides the necessary charm and charisma, but her limited screen time is a big disadvantage. The screenplay constantly revolves around her character, and it is pretty obvious who she really is halfway through the film (no spoilers), yet Reiko is not given the chance to properly shine. All in all, it is a pleasure to see her in a non-drama role.

Additionally, maybe it is only my impression, but Keiichi Tsuchiya appears to be totally disinterested on the screen. He only shows up to repeat the message from the second film, do some cool drifting in R32, and that’s it. Personally, I think that he did much better as “the mentor figure” in Shuto Kousoku Trial 5 & 6.

Recommendations
I recommend Shuto Kousoku Trial 3 only for the cars and Reiko Takashima’s appearance. Subsequent entries in the series have learned a lesson from this sequel and tried to tell more compelling stories about the drivers chasing fortune and glory on the Shuto Expressway.

Overall score: 6/10

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Shuto Kousoku Trial 2 (1990) [Film Review]

Shuto Kousoku Trial 2; or, Gas Gas Gas
     It's the best! With GTR nobody will beat me!
After the troubled release of the original Shuto Kousoku Trial movie in 1988, Nikkatsu studio did not back down, and this time, they joined forces with the Drift King himself, Keiichi Tsuchiya, and Toei’s V-Cinema line in order to continue the series in straight-to-video format. Shuto Kousoku Trial may be a production made on a smaller budget and in 4:3 aspect ratio, but it still manages to retain the spirit of the original movie.

Release Info

Directed by: Shuji Kataoka Starring: Daisuke Nagakura, Arthur Kuroda, Naomi Ashizawa

Language: Japanese Original Title: 首都高速トライアル 2 Runtime: 67 min

Synopsis
Takahiro Yamane (Daisuke Nagakura) is a street racer who looks up to Japan’s all-time best driver, Keiichi Tsuchiya. Takahiro’s friend/ex-mentor is Junichi Tashiro (Arthur Kuroda), the proud owner of Skyline R30 who dreams of getting a GT-R. However, he gives up racing in order to marry his girlfriend, Nozomi (Naomi Ashizawa). Sawaki (Minoru Toyoshima) is a hot-headed racer who wants to break records on the Shuto Expressway. As a result, he challenges Takahiro as well as Junichi...

Skyline GT-R
Shuto Kousoku Trial 2 seems to owe its existence purely to Keiichi Tsuchiya and its anti-street racing message. Whereas the original praised the glory of midnight car chases, the sequel puts up a giant warning sign saying that if you want to become a professional driver, then you have to abide by the law and hone your skills on a race track rather than a city street. However, the movie is not all about preaching because it provides the much needed dosage of car action set to the beats of City Pop.

The first film focused primarily on Skyline R30, but Shuto Kousoku Trial 2 presents us with Nissan R32, 300ZX, and Silvia, all battling each other in epic style. For this film, J-singer Saori Sato provided the songs (which were subsequently released on her album called Lady). Apart from her cameo appearance (as herself giving the main protagonist a mixtape with her best hits), we can also see her performances of All Eyes and Naga-denwa no ballad themes intercut with the chase sequences. You really can’t get more 80s than that.

Interesting is also the role of Keiichi Tsuchiya who basically plays himself and always appears in the film’s calmest moments, just to give a word of advice to the main hero. Similarly to Obi-Wan Kenobi, he says that a driver should trust his feelings (and refrain from participating in illegal races).

With regard to performances, I know that you can’t expect a lot from these sequels which had relatively unknown actors, but I particularly liked the performance of Minoru Toyoshima as a girl who is enthusiastic about her boyfriend’s passion for driving. The final scene in which she waves a checkered flag between two speeding GT-Rs is so beautifully done.

Recommendations
If you can’t get enough of speed chills from Initial D, Wangan Midnight, and The Fast and The Furious, then turn to the series that started it all. No racing franchise has yet managed to surpass the class and practical car action of the Shuto Kousoku Trial movies.

Overall score: 7/10

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