KG: Karate Girl

KG: Karate Girl (Japan, 2011)

Lately, Japanese action cinema has been like a hamburger. First there is director, screenwriter, and action choreographer. Then the beef (choreographer) takes a hike and makes a film of his own. Finally, the choreographer’s screenwriter (sandwich) declares himself as director and delivers the third film in the continuation. This is the history of recent karate film from Black Belt (2007) to High Kick Girl (2009) and finally KG: Karate Girl (2011).

Rina Takeda, Japan’s most promising new action talent, caught the chain during its second phase. The 1991 born sweetheart fought herself a black belt in Ryukyu Shorin-ryu karate before entering show biz. Her film debut High-Kick Girl was a karate demo suffering from inadequate cinematic execution. Furthermore, she was overshadowed by the more skilled karate sensei Tatsuya Naka, who appears in all three films.

In KG Takeda is back in action as yet another super karate shoujo. The storyline kicks off with Okinawa flashback, with bad guys barging into Kurenai-sensei’s (Naka) place. The wrongdoers take a hell of a beating from the righteous master until the last coward standing manages to deliver a deadly strike by katana. The villains take Kurenai-san’s 3 year old daughter away, but seal their destiny by accidentally leaving the elementary school age big sis alive.

As further fuck up the villains grab the wrong belt. The wise sensei had replaced his black belt (symbolizing karate world supremacy) with a worthless copy when he saw the petty thieves coming. 10 years later the bad guys raise an eyebrow once again when the Internet is flooded with cell phone pics for a joshikousei who took down two thieves using Kurenai-karate techniques. Who exactly is this girl, and might she possibly have the sought after black belt in her possession?

KG essentially reverses the filmmaker roles from High Kick Girl. Yoshikatsu Kimura directs instead of writing, and Fuyuhiko Nishi, aside choreographing, does the opposite. The change is a success: KG is a far better movie than High Kick Girl, only stumbling in storytelling. The simple truth is that storytelling should not be applied when one doesn’t have what it takes. In KG the problem appears mainly in a handful of “story scenes”, although some great one liners and occasional unintentionally amusing bits lessen the problem. These scenes aside, the film rather rocks.

The action scenes are plenty and well done. Almost entirely gone are the endless replay shots seen in High Kick Girl. The fights now come with a solid flow and superior cinematic execution. Advanced editing tricks are ignored, with filmmakers relying on the good old “No Wires, No CG, No Stuntmen” mantra. Heavy full contact is still lacking, but thankfully compensated by ballsy sound effects that make bones break as they should. Some kicks are taken all the way, with one cast member taken out and sent to the hospital by Rina-chan. The only real gripe is that fights tend to be a bit one sided – standard opponents display alarming lack of self defense skills and appear eager to taste the shoe.

Aside Rina, the film’s real stand out is the 13 year old Hina Tobimatsu. She faces the regular problem: the younger the girl the more difficult it is to believe she’s able to take down grown up men. A couple of times the illusion is indeed broken, but for the most part one can only follow her movement in awe. For a 13 year old she sure is one hell of a kicking machine who’s constantly about to go into “airplane mode” as she mistakes her opponents as “stars”. The film’s editing, while not fast by any means, basically does her injustice as she was capable of taking 15 opponents out at one go, with no need for the director to yell “cut” in between.

The villain bunch is a more mixed bag. Wheel chair baddie Keisuke Horibe’s merits lie on a fantastic “Devil’s Grin”. His right hand man, Richard “The Monster” Heselton on the other hand is a real, 190 cm karate killer. He’s got murder in his eyes, while heroine Takeda-san is having depressing speech on using martial arts only on self defense. Far gone are the times when Sonny Chiba would defend himself by ripping the opponent’s balls off. Then again, such actions could not be expected from Takeda. As a wise girl she took the idol path, with beach vid Angel Rina in stores for good 6 months now. Her music talent can be witnessed in KG theme song Ready. Steady. Go!

Takeda’s idol status considered KG is considerably straight forward action film decidedly lacking any major kawaii-factors, despite part of its charm being based on “sweet girls kicking ass”. This concept, asexual in tone and aiming at maximum innocent fun, is familiar all the way from the 1980’s High School Action TV Shows (Shoujo Commando Izumi, Rebellion League of Girls in Sailor Uniform, etc.), although unfortunately it still confuses random foreign viewers. These individuals, sadly, cannot even stand the sight of one of Japan’s most commonly worn outfits, the school uniform, without feeling uneasy. Takeda and the male crew can hardly be blamed: KG goes ever further than High Kick Girl in anti-sexualizing teen girls.

KG doesn’t bring anything new to its genre and doesn’t manage to avoid all cinematic crew ups, but as silly and even unintentionally amusing genre entertainment it certainly delivers – especially it its action sequences. Someone could of course complain Takeda and Tobimatsu don’t have half of Sonny Chiba’s killing power. But Chiba never had school uniform. Case closed!

note: DVD review can be found here

Shirome

Shirome (2010)

Horror x J-Pop. Grotesque director Koji Shiraishi has been rejected by UK’s BBFC, and slated as copycat hack by others. But he’s more than that – he’s the director of the very best J-horror ghost film since Ringu: Noroi – The Curse (2005). He’s also the director who ought to have the entire faux documentary genre copyrighted to his name – not because he invented it, but because along the years he has made it his own.

At the other end of Japanese entertainment word stands Momoiro Clover, yet another recently established pop idol group, courtesy of Stardust Agency. The girls, aged 13-16, are well known stars today, but not in early 2010 when director Shiraishi first approached them. Momoiro Clover was in a need of publicity, and Shiraishi wished for a new project. What the crew came up with wan an idea of an idol documentary for TV, with Momoiro Clover visiting a haunted house. The legend says that the spirit in the abandoned school building can make wishes come true. The legend also tells more than a few people have gone mysteriously missing in the same building.

Not a standard gig for teen idols, it was nevertheless an opportunity to gain publicity. Part of the deal was, of course, that the girls would be performing their new song in the school building and wish luck for the upcoming Kohaku utagassen song competition (which would be on Japanese TV on New Year’s Eve). With Shiraishi the girls would be in good hands – he has experience from working with idols (as do many other Japanese film directors from Sion Sono to Nobuhiro Yamashita, all if whom have worked in idol videos). Time to roll cameras.

What Shiraishi didn’t explain the girls, is that in reality he’s making a “horror movie”, all the people around them are hired actors, and there’s a special effects team doing live work around them. The poor girls were clueless of their starring role in a horror movie.

Morally questionable and damned funny, Shirome is one of the best things to happen to J-horror since Sion Sono. It’s not a brilliantly directed film by any means, in fact there’s a lot to be improved on, especially towards the end that goes on for too long. Yet, at same time it’s a real treat for anyone who can see the simultaneous genius and ridiculousness of both idol and j-horror scene. It may come out as a bit of a curiosity for J-outsiders, though, but at least random laughs ought to be guaranteed to anyone.

Momoiro Clover themselves are a rather typical J-idol group, although at the time of filming still in the process of mastering their kawaii-skills and personal roles (the youngest of the bunch is the “sexy momoclo”, of course…). Shiraishi takes enough opportunities to include these idol routines in his film. As trained performers the girls know how to run a show in front of camera, even if unaware of the film’s true nature. This is what makes it all the more exhilarating when real scares enters the frame and the show girls find themselves in doubt whether something is seriously wrong. Is Momoclo being cursed?!

What Shirome stumbles with most, is deciding what it wants to be. The catch is a must know for audiences – without knowing it’s a candid camera show it would come out as just another average, if not below, genre film. Yet, it’s actually not explained until the end, although much of the film’s advertising material does indeed reveal it. Shiraishi went as far as to add special effects into the film, for the audience’s scare. It does not sink the film, and can actually be taken as joke to certain extent, but does nevertheless provide a jarring element into an otherwise excellent pic.

Despite its flaws, Shirome is a Red Bull Six Pack for J-horror genre, and comes warmly recommended to any idol fan not so serious enough about their love to curse Shiraishi to seventh hell for what he has done here. In fest circuit at least, it ought to be minor hit among J-aware cult audiences. Oh, and to those wondering about the film’s last scene: only she was acting!

Revenge of the Zebra Mini-Skirt Police

Zebura minisuka porisu no gyakushu (Japan, 2010)

Spring 2010 saw the release of Takashi Miike’s highly political superhero adventure Zebraman 2. Aside placing supposedly real life politicians in fictional context, the film was notable for being packed with more mini-skirt villains than one movie could take. Busy drooling over Riisa Naka’s curves, the attention stealing Zebra Mini-Skirt Police trio was criminally ignored.

Sho Aikawa’s favorite girls now strike back in the 41 minute spin off movie Revenge of the Zebra Mini-Skirt Police, shot quick and cheap by Miike’s former assistant director Kenichiro Nishiumi. The spin off was released on DVD just prior to the theatrical film, partly in advertising sense.

Set before the events of Zebraman 2, the spin off shows how the three skirt police unit was completed. Zebra City’s governor (or Tokyo’s Shintaro Ishihara, if you wish) runs a personal police force that ensures the safety of the political elite, not so much anyone who stands on their way. Orphan hacker girl Masami is caught by the police and given an “option” to join the force.

More interested in tracking down her the man who killed her parents, Masami’s roundhouse kicks hit her own superiors more often than anyone else. The real target should be, according to the authorities, the evil rebels threatening the city administration. Reforming Masami is left on her‘criminals turned mini-skirt police’ colleagues.

Revenge of the Zebra Mini-Skirt Police stars three success-lite idols. Leading lady Miki Inase and her fellow mini-skirts Yuko Shimizu and Sayoko Ohashi all have a handful of television appearances, commercials, and other routine idol gigs on their resume. Ohashi is probably the best known of the three; having acted as game character and advertising girl for the video game Need for Speed: ProStreet.

Aged 22 to 25, bright future in idol industry seems unlikely for any of the girls. They are, by industry standards, past retirement age. But! They can always proceed with her careers in V-Cinema. And Revenge of the Zebra Mini-Skirt Police isn’t a bad one.

Nishiumi relies on traditional budget effects: girls, skirts, and roundhouse kicks that seemingly break three bones every time. Idol status considered, the girls perform relatively well in action scenes, with ballsy sound effects assisting them.

The trio didn’t have it too easy, though. Christmas holidays spent in action director Masayoshi Yamaguchi’s gentle care, followed by a 4 day winter shoot with a decent amount of outdoor scenes in low temperature.

Revenge of the Zebra Mini-Skirt Police does have a bit of home video look to it, but thankfully it’s the case of razor sharp digi-video. Comparisons to Zebraman 2 would be out of context, though. Miike’s big budget superhero film was made for a different audience than Nishiumi’s bargain budget Nazi fetish modification.

Realities considered, there isn’t much to complain about. The film – if you wish to call it such – isn’t loaded with artistic merits, but in just 41 minutes such a shamelessly entertaining mix won’t get boring. A bit of extra length wouldn’t have hurt, either.

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Infinity DVD

Since 20th Century Nostalgia is one of the most inspiring movies ever made, you may feel one DVD release is not enough. That’s why there’s another disc available, called Infinity. But first, let’s look at what the 2002 Deluxe Edition DVD by Pioneer comes with.

The film is presented in anamorphic widescreen, with an excellent transfer. No subtitles, of course. The extras are limited but not bad. Aside the original trailer, there’s a 29 minute making of documentary. The making of is not revolutionary by any means, but you do get to see:

Ryoko smile
Ryoko smile more
Ryoko laugh and smile
Ryoko look cute while laughing and smiling.

In other words, this is quality supplement. The film’s songs are played constantly on the background, and you get plenty of behind the scenes footage.

If you can’t find the Pioneer DVD but instead come across the Geneon dvd, then don’t worry, all signs tell me you’ve got the exact same product with different publisher logo. The catalogue number being the same, I’m convinced the Geneon DVD is a re-issue of the Pioneer disc that I own.

There’s a third release out there, too, the original 1998 Happinet / Daiei release. This DVD comes in jewel case, and reportedly features Laserdisc transfer. Any listing I could find only specifies bonus materials as 10 minutes of “something”. I see no reason to hunt down this disc. All of the 20th Century Nostalgia releases are out of print, including Infinity.

Ryoko Hirosue in 20th Century Nostalgia: Infinity is making of DVD released by Pioneer the same time as their feature film DVD. Infinity does not feature the film, but instead comes with the following content:

Making of movie (57 min)
Making of movie 2 (11 min)
Making of movie 3 (20 min)
Theatrical Trailer
4 Page booklet

What you get is three more documentaries, and the same theatrical trailer that is on the film disc, except non-anamorphic this time. Infinity is purely a fan product – the documentaries are nothing too special. Of course, you get plenty of more Ryoko footage, behind the scenes footage, opening day footage, press conference etc. But even through idol megane this disc isn’t especially exciting. The 29 minute documentary found on the film disc actually comes with a lot of same footage as Infinity.

Here’s some of the best stuff from Infinity:

For hard core Ryoko fans, yes, it would be a good purchase. It’s also a rare chance to see director Masato Hara at his art. He comes across as a real nice guy. But then again, the most important stuff can also be found on the film disc.

Still, it is kinda nice to have as a collector’s item considering what a gem the film itself is.

For film review, please see here

20th Century Nostalgia

20 seiki nostalgia (Japan, 1997)

A video message from the 20th century!

Two high school students set out with video cameras to capture the life in the mid-1990’s Tokyo on film in Masato Hara’s sought after cinematic feast. Inspired by? Nobuhiko Obayashi. Gave inspiration to? Probably Hideaki Anno.

20th Century Nostalgia is a two way movie. The already nostalgic present day that faded but colorful, like an old movie, with backgrounds looking almost like paintings or models. Cut to harshly beautiful video camera footage painted in blue. On top of it, it’s an idol movie. In principle, at least.

Just turned 15 at the beginning of the production, the late 90’s idol and current quality actress Ryoko Hirosue stars in her first film role. A summer vacation film project was nearly completed, only short of ending, and editing. What would this world look like to a space traveler from the future?

The thin red line between idol film and art house can sometimes be fuzzy. Same with innovative cinema and pop art explosion free of coherent form. The mainstream viewer’s burning questions is: is it ethically right to call 20th Century Nostalgia “a movie”?

Hara’s video camera footage is cinematic heroin. He lets the characters do the cinematography for him, often with Hirosuse and co-star Tsutomu Marushima shooting themselves with handheld camera. The following year’s Love & Pop (Hideaki Anno, 1998) is the closest comparison.

But the two are worlds apart. Anno’s darkly themed enjou kousai exploration is a technical bravura playing the game at pop-culture’s own rules. Revealing, revolutionizing. Hara’s energy comes from the heart. His camerawork is a side product of the film’s characters. They run, dance, and sing – yes, Hirosue was a pop idol after all – and do all that while holding a camera. It’s silly, childish, Obayashimish, thoroughly charming.

Hara picked the newcomer of the year award for his work. That was ironic – Hara’s been active behind the camera since 1968 when Art Theater Guild and Tokyo Film Festival awarded his 12-minute student film. After more than a dozen productions along the years, 20th Century Nostalgia was his first financial film project.

But great did not come easy. The filming kicked off in August 1995, only to be suspended for a long time and eventually finished in 1997.

For those looking for a deep analysis on an era, 20th Century Nostalgia may not be one to search for. Commentary is there, but thankfully as supporting element. A director should provide the viewer with the questions, not the answers. But all this can be beside the point if so preferred: Hara’s film can be enjoyed as a purely visual journey.

The structure is uneven. One of the main characters walks out of the story halfway into the film. The project is left in the air. This is true to the entire movie. The most mesmerizing material comes during the first half. The rest of the film is good, but suffers in comparison, partly due to change of tempo.

The criticism is justified, yes. But, the inspiration! During its best moments 20th Century Nostalgia nearly forces the viewer out of the movie room and to the streets to film one’s own movie. Its impact is enormous.

The world just might be a better place if 35 millimeter filmmaking was banned. Don’t you think so?

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(for Infinity making of dvd review, please see here)