Bamnol - The Debt My granddaughter works hard! All you do is get drunk everyday! It has been roughly two months since my The Monk and The Samurai review, and now I am back with another short film discussion. Recently, I was approached with a review offer from director, writer, and producer Robin Dudfield, who informed me about his directorial debut called Bamnol - The Debt.
The official synopsis on IMDB provides us with the following information: “A university student's life spirals out of control after she takes responsibility for a family debt.” This is the essential premise of the entire story, but there is so much more to the context of the main heroine’s drama.
The leading character is called Sothy (Erica Tan). She is an ordinary student and a hard-working girl, but one day, she notices that her father takes money from a loan shark. Subsequently, he proceeds to indulge himself in binge drinking. To make matters worse, he collapses and has to be hospitalised. All of this forces Sothy to pay off her father’s debt, to literally suffer for the sins of her parental figure.
Evidently, this theme has been used repeatedly in numerous movies, but in the case of Bamnol, it works in the film’s favour because it allows to highlight a number of topical issues which take place across the globe, such as falling into debt, prostitution, and human trafficking. Director Robin Dudfield skillfully guides the narrative of this social drama, and encapsulates it in a 12-minute vignette that really makes you feel sorry for the plight of Sothy.
Undoubtedly, the cinematography done by Adam Pray on location in Phnom Penh, Cambodia is great to look at. I also appreciate tight and unpretentious editing helmed by Erikcs Mickevics and the aforementioned Adam Pray. With regard to performances, Erica Tan gives a truly convincing performance as the leading character. If I were to nitpick, I would say that sound editing could have been improved a bit. Evidently, the movie was not shot in a studio but on location, so some ADR is required to properly hear the dialogue in certain scenes.
All things considered, Bamnol - The Debt is a compelling short film indeed. If you happen to have spare 12 minutes, then you can check it out fair and square on YouTube via Robin Dudfield’s official channel.
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School in the Crosshairs; or, All of Us Are Aliens Stars...you can see so many stars in this universe. Welcome to the concluding part of my journey through Nobuhiko Obayashi’s Kadokawa productions, which were recently released by Third Window Films. I realise that School in the Crosshairs is chronologically the first movie which Obayashi made for the idol-centered studio, but I saved this review for the last course because it is my least favourite one of the bunch. Without further ado, let’s jump into the discussion.
Language: JapaneseOriginal Title: ねらわれた学園 Runtime: 90 min
Synopsis Yuka Mitamura (Hiroko Yakushimaru) is a middle school student who suddenly discovers that has psychic powers. Nevertheless, another girl called Takamizawa (Masami Hasegawa), obviously being under the influence of a mysterious intergalactic being, also displays psychic abilities, and uses them to impose a military regimen at school. Yuka stands in defence of oppressed students, and humanity on the whole. She has to face off against a villainous creature from Venus known as Kyogoku (Toru Minegishi).
The Psychic Club Allow me to clarify right off the bat that I consider School in the Crosshairs to be my least favourite Obayashi movie made for Kadokawa, but it does not mean I dislike it. Given the circumstances, the budget, the idol cast, and the source material (a novel by Taku Mayumura), the director gave his best effort to make a fantasy movie, which touches upon some very important themes.
The problem with School in the Crosshairs is that the pacing is erratic and the themes in question are not entirely fleshed out. The alien invasion, which subsequently results in a radical change of school life, echoes Obayashi’s own childhood during World War II, when he was constantly indoctrinated by imperialist propaganda about the might of the Japanese Empire. Interestingly, Mitamura and her colleagues’ personal struggles at school can serve as a metaphor for the so-called “juken jikoku” phenomenon; that is, “exam hell” in Japan.
Needless to say, Obayashi deeply criticises in his story the herd mentality and favours independent action. This culminates in the bombastic finale filled with outstanding visual extravaganza, in the course of which Mitamura single-handedly fights off against an alien invader who turned her friends into mindless drones. The heroine manifests her objection against not only brainwashing, but also the modern conditioning of students to blindly follow authority and the educational system.
Consequently, I appreciate the messages which Obayashi tried to convey in this motion picture, but these are unfortunately hidden under layers of composite shots and rotoscope animation, which to date make an impression on the Western enthusiasts of Japanese Cinema, but also steal away that antiwar sentiment which Obayashi was so keen on putting in his movies since House (1977).
With regard to performances, School in the Crosshairs marks the first (and the last) time when Obayashi worked with the idol gem of Kadokawa studio: Hiroko Yakushimaru (before her big breakthrough with Sailor Suit and Machine Gun). Hiroko does a great job as the female lead, and I dare to say that she would have been a better fit to play the heroine in The Island Closest to Heaven than Tomoyo Harada. (Interestingly, Harada played Yakushimaru's part in FujiTV's drama adaptation of School in the Crosshairs). Ryoichi Takayanagi’s appearance as the love interest is a given because this is in a Kadokawa movie after all, and the actor is just there, nothing more, nothing less. However, my words of praise go to Masami Hasegawa for playing the villainous student, and the always-wonderful Toru Minegishi for appearing as the boss villain.
Recommendations All things considered, if you want to experience a bizarre mash-up of teenage romance and fantasy, then I recommend School in the Crosshairs. The Third Window release has such bonus features as an original theatrical trailer, selected audio commentary by Aaron Gerrow, and translation notes by Owen Baron.
Overall score: 7/10
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The Island Closest to Heaven; or, Let’s Go to the Beach See this river? If you follow it all the way out, it leads you to the sea. If you keep going, way to the south, all the way to the other side of the world, there’s a small island made of pure white coral. That is the island closest to where God is in heaven. I continue my journey through Obayashi’s Kadokawa productions, this time with The Island Closest to Heaven from 1984, yet another Tomoyo Harada vehicle, based on an autobiographical book authored by Morimura Katsura.
Language: JapaneseOriginal Title: 天国にいちばん近い島 Runtime: 102 min
Synopsis When Mari Katsuragi (Tomoyo Harada) was a little girl, her father told her about an island far to the south where it is always sunny and warm. It was the island closest to heaven, and the father promised Mari that they would visit it together. After the father’s passing, Mari declares to her mother that she is going to search for the island on her own. She goes to New Caledonia where she meets a whole bunch of idiosyncratic natives and Japanese immigrants who will make an impact on her life.
Safe Space I would say that The Island Closest to Heaven is the first unusual filmmaking endeavour for Obayashi because it does not have an avant-garde storyline or fantasy/horror elements. The film is primarily an introspective, soul-searching journey of the main heroine who makes her first steps into adulthood.
I would not call this a Bildungsroman in and of itself, but rather a slice-of-life evaluation of the Japanese immigrant experience within the French territory of New Caledonia. Indeed, Obayashi populates the story with many people deriving from different backgrounds and age groups. Mari finds herself particularly torn in between two men, a young “local” Taro (Ryoichi Takayanagi) and an elderly tour guide Yuichi (Toru Minegishi). She goes through teenage love in the first relationship, but Yuichi’s heartbroken past (which Mari glues back in the finale) teaches her that there is still much more to experience in life.
The juxtaposition between the indigenous people and the Japanese immigrants done by Obayashi is also interesting. Mari, in the course of her journey experiences disappointment after disappointment, failure after failure. The Japanese settlers to whom Taro belongs reject Mari because they perceive her as an outsider: “You shouldn’t fall in love with a tourist. You’ll end up being lonely,” Taro is warned. However, the natives unconditionally rush to the rescue and save Mari suffering from fever. This marks her rite of passage into an adult woman.
In addition, Mari’s relationship with a Japanese widow who visited New Caledonia to pay respects to her deceased husband is also intriguing. One would expect the widow to behave in a restrained and conservative manner, but her character (as expected from Obayashi) is suffused with sentimentality, and she advises Mari that “Life is not long. You need to be unreasonable sometimes.” This stands in stark contrast with the behaviour of Mari’s travel colleague Fukuko (Maiko Ogo) who carelessly consumes alcohol and hunts in the hotel poolside for prospective French boyfriends.
With regard to performances, Tomoyo Harada provides a decent performance as the female lead, but I preferred her more assertive modus operandi as depicted in The Girl Who Leapt Through Time. Ryoichi Takayanagi does a better job this time round as the love interest, but his delivery of lines is still off. Toru Minegishi is outstanding in the supporting part and a true highlight of the motion picture.
Recommendations All things considered, this is one of the Obayashi films to which I fondly come back just to revisit the tranquil ambience. Thanks to the wonderful cinematography helmed by Yoshitaka Sakamoto and the peaceful, orchestral music score composed by Tomoyuki Asakawa, The Island Closest to Heaven feels like a classic Hollywood picture from the 1930s but suffused with vibrant colours and breathtaking locations. The Third Window release of the film contains such bonus features as an original theatrical trailer, an audio commentary by Samm Deighan, and a video essay called “Obayashi - Femininity in Transition” by Robert Edwards. My only complaint is that the theme of the essay would have been more fitting for the potential discussion of The Girl Who Leapt Through Time.
Overall score: 8/10
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His Motorbike, Her Island; or, Crazy Thunder Road 2: Love Warrior She was there from one summer to the next. She became my story. I press on with my mini-marathon through Obayashi’s Kadokawa endeavours. This time, I am focusing on his 1986 bosozoku-centered picture called His Motorbike, Her Island, based on a romance novel by Yoshio Kataoka, with Riki Takeuchi and Kiwako Harada in the leading roles.
Language: JapaneseOriginal Title: 彼のオートバイ、彼女の島 Runtime: 90 min
Synopsis Koh Hashimoto (Riki Takeuchi) is a young, rebellious student who after a failed romance goes on a bike ride through a rural town on an island, and meets a carefree girl Miyoko Shiraishi (Kiwako Harada). Gradually, a relationship forms between the two, but Miyoko gets increasingly drawn to the bike…
Speed Our Destination The bosozoku subculture was truly at its peak in Japan of the 1980s, making forays into such domains as literature, manga, anime, television, and of course cinema. Undoubtedly, Sogo Ishii’s Crazy Thunder Road (1980), which was already discussed on this blog, serves as the best example of a film that depicted this phenomenon, but also took it to another level in aesthetic terms. It comes as no surprise that Nobuhiko Obayashi dipped his toes into the popular genre as well.
Although His Motorbike, Her Island is not as wacky as Crazy Thunder Road, I dare to say that Obayashi’s film functions very much like its companion piece. What makes His Motorbike, Her Island stand out from a whole slew of numerous bosozoku flicks is the fact that Obayashi for the first time in his career tells an essentially failed romance story. Koh is a social outcast, whereas Miyoko is just a rural girl. One would expect a passionate romance to catch on fire between the two, but it is only a dream, an illusion Miyoko at one point says to Koh: “In Shinshu… When I saw you on top of that Kawasaki, I was so jealous… I envied that Kawasaki. I wanted to ride it myself. And I wanted to be loved as much as that Kawasaki.”
Obayashi explores the unlikely romance through monochromatic shots as well as vividly colourful ones, blurring the lines between a dream, a memory, and reality. What makes the story more interesting is that it is told through the perspective of now adult Koh, which is an indication that he eventually matured, and we, the viewers, relive the glory days together with him. Nevertheless, the conclusion of the tale is unnerving to say the least. Allow me to refrain from giving away any major spoilers, but let me just say that Obayashi presents us with a seemingly bittersweet ending, but at its core, it is deeply heartbreaking.
With regard to performances, if you had not known that piece trivia, His Motorbike, Her Island is the debut appearance of the legendary actor Riki Takeuchi. Indeed, he has a dominating presence as the male lead, but one should also appreciate the youthful gentleness and vulnerability which he displays in this picture. Kiwako Harada is without a doubt memorable as Miyoko, but I would not call her the most assertive Obayashi heroine out there. Truth be told, her character is independent but lost at the same time. My praise also goes to Noriko Watanabe and Tomokazu Miura for appearing in the supporting parts.
Recommendations I really do not want to use the word “esoteric”. I guess ethereal would be more suitable for His Motorbike, Her Island. Indeed, I appreciate the film for its ethereal ambience and the wonderful riding sequences through urban cityscapes as well as rural landscapes. It is yet another beautifully crafted picture by Nobuhiko Obayashi. The Third Window release of the film contains such bonus features as an archival interview with Nobuhiko Obayashi, an audio commentary by Tom Mes, and an original theatrical trailer.
Overall score: 7/10
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The Girl Who Leapt Through Time: or, Lavender Day The fruit of love is at the bottom of the sea. The sky's sigh has turned into stars. It takes millions of years for people to meet. It’s Obayashi time on this blog again. I finally manage to sit down and revisit four films of the late master, which were recently released in a limited boxset by Third Window Films. Allow me to start my revisitation with Toki o Kakeru Shōjo, or, using the English title, The Girl Who Leapt Through Time from 1983 with Tomoyo Harada in the leading role.
Language: Japanese Original Title: 時をかける少女 Runtime: 104 min
Synopsis Meet Kazuko Yoshiyama (Tomoyo Harada). She is an ordinary girl and an average student at a local high school. She is a good friend of Goro Horikawa (Toshinori Omi), whom she has known since childhood, and also of Kazuo Fukamachi (Ryoichi Takayanagi). After a sudden accident while cleaning the science lab, Kazuko discovers that she has the power to travel in time. Little does know that her extraordinary ability is linked to the boy she falls for, Fukamachi.
If I Could Turn Back Time Let me say right off the bat that The Girl Who Leapt Through Time is often unfairly labelled among Western viewers as Obayashi’s take on the Groundhog Day (1993) formula. In my opinion, this is more of a consequence of Yasutaka Tsutsui’s original novel's premise rather than of misinterpretation of the movie adaptation. Indeed, many Obayashi’s films made in the 1980s were based on some kind of external source material, be it a book or a manga series, but regardless of the story constraints, the auteur director always managed to leave his personal imprint on the subject matter, and The Girl Who Leapt Through Time is no exception from this.
To be specific, rather than reliving the same day over and over again, Kazuko finds herself unwittingly jumping between various points of her life. She literally “cuts through time” as the alternative English title suggests. Personally, I regard this approach as quite refreshing because Obayashi does not make “time travel” as the main MacGuffin or the axis that drives the action forward. Kazuko’s ability serves as the lead-in for discovering her love for Fukamachi. Therefore, the movie is first and foremost a teenage romantic drama suffused with sentimentality and otherworldly strangeness (keep an eye out for The Wizard of Oz easter eggs in the film).
If I were to choose another Obayashi film that is stylistically similar to The Girl Who Leapt Through Time, it would have to be The Visitor in the Eye (1977) because the cinematography as well as the thoughtful usage of music goes hand in hand in both pictures. However, in the case of The Girl Who Leapt Through Time, Obayashi manages to employ his full on visual bizarness in the final act. The stop-motion spectacle as Kazuko travels through time and space is a true invasion of the spectator’s senses, in a positive way of course.
With regard to performances, if I am not mistaken, this is the first instance when Obayashi collaborated with the idol actress Tomoyo Harada (She went on to appear later in The Island Closest to Heaven, Kenya Boy, and Samurai Kids). In my opinion, out of all her appearances in Obayashi’s films, Harada gives her best performance in The Girl Who Leapt Through Time. She gives off the vibe of an innocent girl with pure intentions who is not too egotistical or absent-minded. I have to say that she had a great onscreen chemistry with Obayashi’s regular, Toshinori Omi.
The same, unfortunately, cannot be said fot Ryoichi Takayanagi who plays the main love interest. His delivery of lines is wooden and off-putting to say the least. Still, it did not discourage Kadokawa from utilising the young actor in Obayashi’s other productions cooked up for the studio. In terms of supporting parts, it is great to see Ittoku Kishibe and Wakaba Irie.
Recommendations If you are looking for a peaceful and unpredictable coming-of-age drama, then I recommend The Girl Who Leapt Through Time. The Third Window limited release of the film comes with such bonus features as an archival interview with Nobuhiko Obayashi, a featurette devoted to Tomoyo Harada, a music video, and an original theatrical trailer. Out of the many adaptations of the original novel, this is the best one.
Overall score: 8/10
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