Japan succeeds in preserving arts and churning out films
Japan succeeds in preserving arts and churning out films
By Marselli Sumarno
JAKARTA (JP): In many advanced countries, the survival of
domestic film production is not such a big issue. If it survives,
especially in its struggles against the domination of Hollywood,
so much the better. If it fails to grow, it does not really
matter. However, other advanced countries make their best effort
to defend the production of their local films because they have
certain objectives in mind. Japan is a case in point.
As an "economic giant", Japan has prided itself on preserving
expression of the arts, despite the fact that the world in
general is becoming insensitive to this field. How do the
Japanese do it? They consistently place priority on the
publication of books and the production of films.
Japan is noted for its very high book publication rate. People
write about everything and bookstores can be found everywhere. On
the other hand, the Japanese film industry has slowed down. Films
loaded with cultural values keep flowing off the production line,
each full of local character and color and done with technical
excellence -- but without commercial content.
Seven cinematic chefs-d'oeuvre have been brought by The Japan
Foundation and will be shown by the Jakarta Arts Council's Kine
Klub. The films can be seen from March 17 (today) to March 24 at
Taman Ismail Marzuki's Teater Tertutup. All the films will be
subtitled in Bahasa Indonesia.
One of these films, Kirakira Hikaru, or Morning Light, centers
around homosexuality, a taboo issue in Japanese life. The film
lacks realism in its description of gay life. Instead, it does a
better job depicting the struggle of the three main characters
(two men and a woman) searching for an alternative sexual life
and questioning the role of the family in contemporary Japanese
society.
Kohei, in Hashiriki, or The Young Runner, deals with a young
villagers problem of finding self-identity. This young man
chooses his school race track to find his identity. There is a
strong element of honesty in the film, which was written and
directed by Suguru Kubota.
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Another noted screenwriter and director, Kaneto Shindo, is
represented by his film Tooki Rakujitsu, or The Distant Violet.
The film borrows the traditional image of a mother in order to
depict the changes that swept Japan at the turn of the century.
The exposition resembles a biography-based film and is rich with
educational properties, portraying the life of a young man who
becomes a scientist.
Hikinige Famiri, or The Family Secret begins to unfold when a
father becomes distressed after he hits a young woman with his
car. All members of the family then have to cover up the mishap.
If the father gets jailed or loses his job the entire family will
suffer. It is a humorous but bitter reality in a typical modern
family and it is interesting to observe the similarities between
the family and the car as the source of the disaster that needs
to be destroyed.
Next, Hashi no nai Kawa, or The River With No Bridge, presents
the issue of equality for members of the Japanese eta community,
who have been regarded as lowly and contemptible ever since the
era of Japanese feudalism. The uniqueness of this film lies in
the fact that the film was produced by a group whose only mission
is to liberate the etas. The story evolves around relationships
between characters rather than around human beings as pitiful
objects.
Bokura wa Minna ikite iru, or The Ballad of Life, is worth
seeing since it highlights relationships between Japan and its
neighbors. In a make-believe Asian country (in the movie it is
called Talckkistan), a couple of Japanese firms compete in the
construction business. All of a sudden, a coup d'etat takes
place. Everything becomes chaotic, funny, and at the same time
deplorable. There are moments when the Japanese businessmen act
silly, which may be the objective of this film produced by Yojiro
Takito. Perhaps it is meant to be a satire about whimpering
Japanese men, about the expansion of Japanese economic influence.
"We're just traders! We're just traders," the businessmen sing
toward the end of the film.
Another noteworthy work is Oroshiyakoku Suimutan, or Russia,
the Dream Land, a film directed by Jun'ya Sato and based on a
true story that happened in the 18th century. At that time, a
group of fishermen were shipwrecked in Russia. Stranded, they had
to wait for months before they could return to their fatherland.
They had to work hard in extremely cold weather and adapt
themselves to local customs. It is a story about the love for the
fatherland, which is presented with beautiful artistic
arrangements and superb cinematography.