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Film: The Pacific Battleship Yamato
Release date: 27th September 2010
Certificate: 15
Running time: 143 mins
Director: Junya Sato
Starring: Takashi Sorimachi, Shidô Nakamura, Yû Aoi, Jun'ichi Haruta, Ryô Hashidume
Genre: Action/Drama/History/War
Studio: Metrodome
Format: DVD
Country: Japan
Based on a book by Jun Henmi, The Pacific Battleship Yamato tells the story of the famous Japanese battleship, the largest ship ever built for war, and its last voyage.
The story revolves around the young cadets during WWII, and their training leading up to the sinking of the Yamato. The story is framed by the sailor Uchida’s adopted daughter’s story.
After his death, curious to understand her father’s experiences, she asks Kamio, a fellow sailor, to take her to the Yamato’s resting place. Reluctantly, Kamio agrees and the rest of the film is told in flashback, recounting the story of the crew of the WWII battleship, concentrating on the ship's demise during Operation Ten-Go…
In the early scenes, we get a sense of the power and grandeur of the Yamato as the new cadets get an introduction to naval discipline and routine, which establishes the setting well for the audience, before the film focuses on the dramatic battle sequences, which are spectacularly staged and realistically bloody. Limbs are blown off left, right and centre, showing the harsh truth of war.
The human side of the story, however, is told rather heavy-handedly. The film suffers from overacting from many of its cast. Many of the naval officers’ parts seem to consist of squinting angrily and shouting - with little emotion. Whilst they were no doubt disciplined, a little more of a human side would have created greater audience empathy. It doesn’t help that there are virtually no female characters apart from Kamio’s young cousin, and Uchida’s lover, who appears briefly. This is very much a story of male camaraderie, wartime heroism and sacrifice.
In fairness, the actors playing the young Uchida and Kamio are convincing, and bring a much needed humanity to the story. Uchida escapes hospital in order to fulfil his duties aboard the ship and fight alongside his comrades, and is portrayed as something of a rebel and a thinker, which makes for a good contrast with the other characters.
Some viewers may have a problem with the dialogue, which is rather stilted, but this effectively conveys the discipline and uniformity of the Japanese navy, and it is refreshing to see the events of WWII told from a non-US perspective - although there is an equal amount of patriotism and machismo as found in most war films.
The action is almost entirely set aboard the Yamato, and sometimes this can make the film a little repetitive, especially since many of the scenes involve cadets following orders and doing drills. The first half of the film is particularly stilted; it is like watching a series of military training videos. The action picks up in the second half, however, and the film becomes more exciting as the Yamato prepares for the battle at Okinawa.
The scene of the night before the big battle is an emotional one; we see the cadets getting drunk, sharing a final meal and staring silently out to sea. Both they and the audience know what is to come, and this builds the tension effectively. The action accelerates towards the end; the final battle, which is a lengthy (it takes up most of the second half of the film) and visually spectacular one, and some of the final scenes are very touching, as we witness the deaths of some principle characters and the tragic consequences of this for family and comrades left behind. In these scenes, we certainly get a sense of the cost of war, and the lasting impact that remains for those that survived.
The Pacific Battleship Yamato is a film which depicts the realities of war. It is essentially an extremely long battle scene, which is striking as well as being brutal. The film falters and meanders a little when it comes to the human elements of the story but the finale will certainly hold the attention of the audience as the Yamato is attacked from all sides, and mass destruction and death ensues. CP
Film: Undertow
Release date: 27th September 2010
Certificate: 15
Running time: 100 mins
Director: Javier Fuentes-Leon
Starring: Tatiana Astengo, Manolo Cardona, Cristian Mercado
Genre: Drama
Studio: Axiom
Format: DVD
Country: Peru/Colombia/France/Germany
Undertow is Javier Fuentes León’s first feature film and has won several awards, including the audience award at the Sundance Film Festival. The film is, on the surface, a love triangle, but also a study of a community and one man’s dilemma, caught between familial and community responsibilities and forbidden passion.
It is the story of Miguel, a fisherman from a tiny village in Peru and his forbidden homosexual affair with Santiago; an outsider referred to by the villagers only as ‘the artist’.
Miguel is married to Mariela, who is well respected within the community, and they are expecting their first child. Miguel is torn between the acceptance of his people and his love for Santiago. Only when Santiago is drowned and returns, visible only to Miguel, can they openly be together…
Undertow is literally translated as ‘cross currents’, and that perhaps more accurately describes the main character’s internal angst. Fisherman Miguel is torn between his commitment to his wife and unborn child and his secret love for artist Santiago, between his community and his real feelings. Only when Santiago is dead can he finally have everything. One of the few moments of joy in the film is the scene in which they walk hand in hand through the village in the open for the first time, the villagers none the wiser. This is a rare moment of liberation for Miguel, who is in denial about his true feelings for most of the film. For the most part, he appears stifled.
The film perfectly captures the isolation of the village, which is surrounded by cliffs. It is never mentioned where (or when) we are, giving a sense of loneliness and separation. This separation from the outside world makes Miguel’s dilemma all the more difficult, since this place and these people are his whole world, something he cannot give up lightly. He knows that he and Santiago’s relationship will never be accepted, not only because of his wife, but because Santiago, who is openly gay, has been ostracised by the entire village, referred to only as ‘the artist’. The gay theme is not heavy-handed, however, and the scenes between Santiago and Miguel are tender, as well as erotic.
The film veers between the magical realism of Santiago’s post-death appearances, and melodrama, a sometimes uneasy blend. However, the story and characters are engaging, if simply drawn. The acting is affecting and the score simple. Everything in fact from the cinematography to the storyline is simple and uncluttered, leaving the audience free to concentrate on the sadness of the central dilemma, which we know cannot end happily.
We do not get a lot of back-story for any of the characters, and some may find this frustrating, particularly regarding Miguel’s wife Mariela. The villagers, too, often appear a little archetypal, with little depth. Mariela, although portrayed as strong is also somewhat incomplete as a character. It is the scenes between Mariela and Miguel, however, particularly in the second half of the film when she is forced to make a difficult decision that provides the most heartache.
The fishing village is beautifully shot, and the love scenes on the beach between Miguel and Santiago appear sun-drenched and idyllic. The ocean is almost a character itself, as the life of the village and its inhabitants are entirely built around it. We see Miguel taking his newborn son out to listen to the waves in one touching scene. It also acts as a metaphor for the passions that are hidden beneath the surface, and, of course, acts as an important plot device, allowing the lovers to be together after Santiago’s drowning.
The symbolism throughout is a little obvious but the story charms nonetheless. Water burial functions as a recurring motif, symbolising change and rebirth. The circular narrative enforces this; the film begins with the water burial of Miguel’s cousin and ends with that of Santiago, which Miguel has fought his wife and the prejudice of the villagers to perform; a test of his courage as a man. This ritual, the villagers believe, will allow the souls of the dead to ‘pass’. The scene is laden with his grief but also suggests that Miguel is finally free to be himself. The film’s ending is ultimately positive, and, overall, this is an enjoyable viewing experience.
Undertow manages to incorporate magical realism in order to examine a man’s identity and choices. It is beautifully shot and the performances are excellent. It may be a little heavy handed with its symbolism, and a little light on storyline and secondary character development, but the film is gorgeous to look at, and it is impossible to come away from viewing it without a degree of sadness and feeling for Miguel’s internal struggle. CP
Series: Moribito: Guardian Of The Spirit - Part 1
Release date: 20th September 2010
Certificate: 12
Running time: 325 mins
Director: Kenji Kamiyama
Starring: Mabuki Andou, Naoto Adachi, Kouji Tsujitani, Ako Mayama, Rintarou Nishi
Genre: Anime
Studio: MVM
Format: DVD
Country: Japan
Moribito is the first in the ten-volume Guardian series of Japanese fantasy novels written by Nahoko Uehashi, and this collection contains the first half of the series, which was dropped without warning from the Cartoon’s Network’s Adult Swim, after just the first ten episodes, angering many fans.
The story revolves around Balsa, a female bodyguard with a personal agenda hired to protect the second prince, Chagum, who has been possessed by a water demon, threatening the stability of the kingdom of Yogo.
The prince faces death at the hands of his own father, as the emperor fears the demon that possesses the boy is the same one that previously ravaged the entire kingdom. However, the prince’s mother opts to save the boy’s life by hiring Balsa, after she saves Chagum from drowning…
The central premise is that the protagonist, spear woman Balsa, is trying to atone for eight lives that she was forced to take by saving a further eight lives - the young prince’s being the final life saved. Balsa is a well-developed and intriguing character and that is the main pull for the series. Unlike many anime series such as Bleach, Moribito is more concerned with character development and long stretches of dialogue than pure action, although there are some tense and exciting moments, such as the fight scene in episode 13 between Balsa and her old adversary Karbo.
It is a refreshing to see a series with a female lead that is a strong and independent character, as well as one whose sexuality is not an emphasis, something Moribito avoids. Balsa is a thoughtful, quiet but strong protagonist, who is, at the same time, warm and protective of her young charge - the main focus of the series becomes the relationship between Balsa and Chagum, which becomes very maternal and affecting. Her character design is detailed enough to show a range of emotions, something which other female protagonists have frequently lacked.
The secondary characters such as herbalist Tanda, wise woman Torogai, and orphan Saya are also well developed, and add interest to what is sometimes a slow plot. The orphan boy Toya also adds some comic relief to the proceedings.
The animation in Moribito is consistently good throughout the first thirteen episodes, with an unusually high level of detail in its visual environment, whilst the energy and sense of movement shown in the characters’ clothes and hair is extremely well rendered. The backgrounds are beautifully realised and the music is haunting and fitting for the emotional scenes, though a little repetitive - the opening credits are a little on the mawkish side, but this is forgivable.
Many of the later episodes deviate quite significantly from the original novel, and purists may complain about this, but the storylines are appealing and engaging nonetheless. There are some emotive scenes in the early parts of the series when we see the growing relationship between Balsa and Chagum as she gives him a flavour of life outside palace walls. There are also some affecting scenes of a burgeoning romance between Saya and Toya.
The final episode of this first collection ends on a slight cliff-hanger as Balsa wrongly believes she has broken her vow to never take another life, leaving room for speculation as to what is to come in the second half if she does not discover the truth.
This series features good character development, as well as an easily understood plot. It does sometimes lack tension and the dialogue can be a little heavy handed. The plot is not vastly different from many other anime series of this type, but the characters are well drawn enough to hold interest.
Moribito is a satisfying piece of anime. It is rich in detail and emotion and is a refreshing change from purely action-driven anime. The characters are consistently engaging and the animation is superior to many other shows. The plot is slow, but for those with the patience, this is a satisfying watch. CP
Film: Dark Water
Release date: 24th November 2003
Certificate: 15
Running time: 98 mins
Director: Hideo Nakata
Starring: Hitomi Kuroki, Rio Kanno, Mirei Oguchi, Asami Mizukawa, Fumiyo Kohinata
Genre: Horror/Mystery/Drama/Thriller
Studio: Tartan
Format: DVD
Country: Japan
Having adapted a novel by Koji Suzuki to huge international success with The Ring, the master of J-Horror, Hideo Nakata looked for similar results, adapting one of Suzuki’s short stories.
The story is deceptively simple; a recently divorced woman named Yoshimi moves into a new apartment with her 5-year-old daughter Ikuko and begins to be disturbed by a mysterious damp patch of water on the ceiling which gradually grows larger.
The landlord repeatedly ignores her complaints and we begin to wonder whether she is in fact imagining things, a result of the strain of single-parenthood. The mysterious water, continual re-emergence of a small red bag and sightings of a young girl in a yellow coat – are these the delusions of a woman struggling to cope, or is something more sinister at work?
For those expecting the full-blown horror of Ring, you may come away disappointed, as Dark Water is an altogether more restrained film. Although Nakata’s style can be recognised, the film seems much more personal and contemplative, though it certainly does lack the lingering horror and unease of his most famous horror film.
Less a straightforward horror, more a psychological study of the relationship between a mother and daughter - it is a thoughtful and disconcerting film. As he did so well in Ring, Hideo Nakata seamlessly combines family drama with more supernatural and eerie scenes - as with other Asian horror films of recent years, there is the preoccupation with family dysfunction. Yoshimi and her husband are in the middle of a messy divorce and custody battle, and she is trying desperately to prove she is capable of caring for her daughter alone, as well as balancing a career.
Nakata builds an atmosphere of isolation and dread very effectively in the first half of the film as we watch Yoshimi move into her new home and begin to notice odd things; a hair coming from the tap and, as mentioned, a small child in a yellow coat that appears and disappears constantly (reminiscent of the Venice scenes in Nicolas Roeg’s Don’t Look Now).
There are several tropes that we now recognise from J-Horror (and Asian horror in general): the obsession with water, isolation, loneliness in an urban environment, oppressive atmosphere and a young girl ghost with long lank hair, although there is no focus on the malevolence of technology. It is in many ways a more human story.
Saying that, however, the opening sequence is suitably creepy, as we see dank water swirling endlessly, set against an eerie score by Kenji Kawai and Shikao Suga. We are then immediately introduced to the main themes, as we see Ikuko standing alone waiting to be picked up by her mother from school. The tragic image of Ikuko waiting in the rain is one that recurs throughout the film. There is also an effectively sinister scene when the missing girl is spotted on CCTV in the lift, although this tactic has now been used many times, notably in Takashi Shimizu’s original Grudge film. Another scene involving a game of hide-and-seek at school when Ikuko spies the dripping ghost girl is also especially ominous.
It could be said that much of Dark Water is familiar but this does not diminish the film’s poignancy. The damp spreading and dripping throughout the apartment grows increasingly prominent and frightening, and Hitomi Kuroki does a brilliant job of playing an anxious mother, teetering on the brink of insanity. The father is unsympathetic, and Yoshimi appears completely alone in the film. The story rests on the interplay of her and Ikuko, and the scenes between the two of them are well acted and realistic, making us sympathetic towards their predicament.
The feeling you are left with after watching Dark Water is one of sadness, not terror. The final revelation about the missing girl and the denouement are devastating. Although one would hesitate to say that Dark Water is as memorable a piece of horror cinema as Ring, it is certainly affecting. CP
