Recently just as I was starting to get jaded with the largely nondescript, unsatisfying Japanese films that I have had access to here in Tokyo, comes a mind blowing piece of work that utterly sweeps me off my feet, myself smiling and swearing unwittingly throughout the film’s viewing, marvelling at its sheer brilliance and beauty. Based on a short story of the same name by renowned writer Murakami Haruki, Tony Takitani ( directed by Ichikawa Jun, whose previous film Byoin De Shinu To Iu Koto ironically inflicted me with severe soporificism ) explores the issues of isolation, solitude and loss. This film is in a word, beautiful; the quiet photography, subdued palette of colours that lend to the film’s intended feeling of emptiness, the music, poised piano arrangements mirroring the visual’s quiescent mood, the treatment and art direction, each scene decorated with the aloofness of an Edward Hopper painting, the screenplay, conversations and exchanges like soothing poetry but with non of the rigidity, more like the words of a child, honest, direct, austere. My highest recommendations.

You can get the Japanese 2 disc special edition of the dvd here.

This year’s seasonal transition from summer to autumn seemed to have creeped in cladestinely, but the clearest harbinger of the big freeze season are the nights when I could feel myself curling up my toes as the piercing cold air assailed my feet.

Back in school, I’ve just only realized that Yukisada Isao ( director of Sekai no chushin, and his soon to be released Haru no Yuki ), who also happened to have graduated from my film school was also assistant director for Iwai’s Love Letter. Respect for him ups 30%. Time for film watching has declined since school started and the films I want to watch just continue to pile as I read the latest copies of Sight and Sound. Including Wim Wender’s recent work, Land of Plenty, above.

Having bought us memorable tracks like “Yesterday & Today”, “Fukai Mori”, “Rakuen” amongst others, Japanese rock group Do As Infinity has officially disbanded with the release of their greatest hits album “Do The A side”, which contains all 20 singles since their debut in 1999 with “Tangerine Dream”. Recalling the early days when the trio performed as a street band in Shibuya before they made it big, to the times when their official website was launched and they saw only an average of 7 visitors per day, DAI’s has come a long way, and their collective music will be missed.

For the last time, Tsui Hark’s Seven Swords is not at attempt at remaking Kurosawa’s Seven Samurai, quote “and a piss poor job at that”, so say the folks who hated Hark’s latest film. For the record, Seven Swords is based on the much-read novel “Seven Swordsmen From Mount Tian,” by Liang Yu-sheng, one of the fathers of 20th century Hong Kong martial arts fiction.

I know what you want to say. “So, you must be a Tsui Hark fan eh, standing up for his work like that. ” I beg to differ. Seven Swords certainly had its merits in the character design and fight choreography departments, ( not to mention Hark’s excellent decision in asking Kawai Kenji to score. Let’s face it, original scores in Hong Kong films just ain’t that great. ) but its Kurosawa that’s taking the insult here by that “remake” comment. What amuses me, maybe even irritates me is how the chaps came up with the idea of this Seven Samurai remake connection. Do these folks even know what they are talking about ? I figured there are 2 possibilites : 1) They are simply outta their minds or 2) They’ve never watched Kurosawa’s Samurai, or didn’t understood a thing if they did, but since it was such a famous film and it puts credit to their film literacy they decide to mention it, “and hey, both films have the word SEVEN in them !”

Anyone who’s actually watched Samurai and enjoyed it understand that the film’s concern is not about the fighting, but the in depth study of the different characters that exist within and their actions and consequences, the beautiful and brilliant use of visual patterns which accentuate the narrative, and so on. Nadda on fighting. Last but not least, the film’s a CLASSIC. When was the last time anyone compared a piece of contemporary music to say, Beethoven’s Moonlight Sonata in terms of grandeur ?

ps Check out this beautiful Seven Swords Japanese movie pamplet.

As Typhoon No 14 lashed past central Japan plains glancing past Tokyo the winds here were still strong enough to give me one of those Stormriders hairdos as I struggled to get to school today. On my way home as I got off the train station I was greeted with a quaint and nostalgic sight; in the far distance the setting sun has spilled a wondrous palette of reds and oranges reflecting off the voluminous clouds, framed by the distinctive silhouetted rooftops of Japanese houses and cascading cables that stretched from post to post. A beautiful sight by any other day, but more significant today because I had created an exact image of it a full 6 years ago for my final year animation project.

Truly, this is the Shinjuku Dreams.

A half-reluctant 3 days holiday trip to Yamanashi Highlands had me reliving the forgotten horrors of an organized group tour. Sponsored by a certain Rotary Club, whose members have affliations with my former Japanese language school, I had fatally commited my name a month ago, thinking perhaps I could meet up with some of my old friends, most of whom didn’t turn up anyway. So after checking into the hotel the “program” started as we were ferried from place to place, touch and go travelling, stopping at one souvenir town after another till I was sure I won’t survive till day three.

And what’s with the incessant photo taking ?? Sure, I mean if the scenery’s justifiably beautiful and all, but the crazied lot were snapping everywhere they went, outside a cliched souvenir shop, front of the roadside, long as they could find a place to stand. This lady, seeing me grieving in pain outside the souvenir shop, came up and asked : ” Say, you don’t like taking pictures ? ”

Silence.

No more group tours for me.