Kaiji ~Jinsei Gyakuten Game~

 

This review contains spoilers for the movie Kaiji ~Jinsei Gyakuten Game~

 

Fujiwara Tatsuya (Light in Death Note) stars in this Kafkaesque gambling nightmare in which a loser called Kaiji finds himself in trouble with a loan company. This is no ordinary loan company, however; this one is embroiled in a secret conspiracy to force young men to wager their lives in order to repay their debts. Some Japanese fans have complained that Fujiwara doesn’t look sufficiently like Kaiji, but it’s a complaint best ignored.

I didn’t have an accurate impression going into this film. Simply put, the trailer is a lie. I had every reason to believe that Kaiji was going on a luxury cruise where he would gamble to either repay his debt or die. It certainly starts off that way and I thought the scene where the man in a suit explains the first game and it turns out to be a variation of janken (rock, scissors, paper) was pretty funny. The resulting chaos as some men charge about the boat and some try to fix the game is reminiscent of my time spent teaching in elementary schools as an ALT. The only difference is that losers are dragged outside, presumed by those watching to be killed. I’ll have to consider adding that one to my repertoire.

Kaiji does some fancy things with card-marking in the first game, but gets dragged off to do hard labour because his companion forgot about a card he had in his pocket. With that, the cruise liner arc is finished. Kaiji spends the next few scenes working underground for the loan company, receiving little pay which he and his fellow labourers immediately spend on beer and yakitori.

Wow. Is this an indictment of modern day life? Kaiji’s decision to buy beer and then tons of food to go with it is definitely portrayed negatively. But then he sighs with all the happiness of a man from a beer commercial and you start to wonder again. Another interesting connection are the ones the film draws between gambling, being a slave to money and the legal loan shark-style companies that are popular in Japan.

The movie can’t help but be at least mildly pro-gambling though, as the manga was written by Fukumoto Nobuyuki, who loves devising new games. It’s not the big eyes that distinguish manga from mainstream American comics, it’s the way mangaka (combined writer/illustrators of manga) use their specialty knowledge, whether it be tennis, wine or gambling. However, the film doesn’t know if it celebrates the acquisition of money and making money through gambling, or if it disapproves of this sort of thing.

One scene that deserves special attention is “Brave Men’s Road”, where Kaiji and a number of disposable characters have to walk on a narrow beam between two skyscrapers. Just writing that doesn’t describe the level of tension in this scene. It’s truly amazing and terrifying. You are drawn into the men’s decision-making process and by the time they start to cross the bridge, you’ve already asked yourself if you’d do the same.

The final showdown is similar to the idea behind the first game and is a bit like deciding to play rock, paper, scissors, lizard, Spock instead of rock, scissors, paper. Seems more workable than the card game Rabbit Nabokov from 20th Century Boys though.

In the end, this movie has some great individual scenes worth seeing, but the plot arc is fairly weak.

 

Kaiji ~Jinsei Gyakuten Game~ (カイジ 人生逆転ゲーム) Official Site

 

Dancing fox at Kawagoe Matsuri

The Kawagoe Festival goes on into the evening and features towering floats that are said to do battle with each other through music. The full name of the festival is Kawagoe Hikawa Matsuri due to its connection with Hikawa Shrine, but even Japanese people usually refer to it as the Kawagoe Matsuri.

The floats used are distinct from the mikoshi (shrines carried by local people during festivals) used elsewhere as these are about the same height as the Edo-era houses that line the streets. However, the real difference is that each contains a small stage with musicians and often a masked dancer. The top half of the float revolves so that the performers can direct their music towards people on either side of the street and at other floats.

When two floats attempt to pass each other (a difficult feat at any time), the stages turn to face each other and what might be termed a ‘battle of the bands’ ensues. In Japanese, the act of rotating the stage to perform is referred to as hikkawase (曳っかわせ) which is a local word used only in reference to this festival. They perform facing each other until one float gives up and moves on, widely interpreted to indicate which group has failed and which group has won. Apparently, this isn’t really the case and it’s simply a matter of deciding when to move along, but I say that if they develop a fighting toy based on this concept and make an anime out of it, they’ll have a hit on their hands.

To get a better idea of how the rotating stage works, check out the two videos below.

 

 

 

The musicians play the shinobue (bamboo flute), the shimedaiko (type of drum), the oodaiko (bigger type of drum) and the surigane (metal dish and hammer). There are many types of dancers, including characters based on Hyottoko and Okame; the former has his lips permanently pursed because he breathes fires through a bamboo pipe, while the latter is female and has round cheeks. However, the ones that really caught my eye were the foxes. Foxes are awesome and if you were expecting some deep insights into Japanese traditions, you’re best off reading a different blog.

 


Click on any of the photos to go to the Flickr page

 

More photographs of the floats at night below.

 



Click on any of the photos to go to the Flickr page

 

This is a great festival to attend. The atmosphere is fantastic and the location is spread out, so there are plenty of food stalls (Tornado potato, agemonja and doner kebabs are growing in popularity, plus old favourites). Kawagoe, nicknamed ‘Little Edo’, is also a good town to visit in its own right. It’s on the Saikyo line, about 50 minutes from Shinjuku.

 


Click on any of the photos to go to the Flickr page

This review contains spoilers for the movie Kamui Gaiden (カムイ外伝).

 

Kamui Gaiden is based on a manga started in 1965 by Shirato Sanpei, about a ninja who is on the run having left his clan. Kamui is played by Matsuyama Ken’ichi, who is probably most famous for his role as L in the live-action Death Note movies. Matsuyama also appears in Kaiji ~Jinsei Gyakuten Game~, out this weekend in Japan.

This movie starts out with child Kamui watching his master fight against a strong female ninja (Sugaru), which quickly introduces the way fights are choreographed. Ninja can jump-fly as a matter of course, similar to the wire work used in the wuxia genre. This time it looks like CGI, but my partner gave me a suspicious look when I referred to it as CGxia.

Both Kamui’s master and Sugaru fall from a cliff, but the former hangs on, while the latter is presumed to have drowned. Kamui’s master climbs up and pulls a throwing knife from his eyeball, eyeball still attached. He throws it at Kamui’s feet to teach him a lesson. What lesson? Only ninja know.

That sets the pace for the first half hour or so as adult Kamui encounters and fights other ninja and bandits in a bloody but non-gory way. I got to admit, this was often pretty cool and I love this style of cinema, even when it’s not done particularly well.

But then the plot starts. I feel terrible for typing that. For the next hour or so, there’s no more fighting and Kamui learns to fish and falls in love. Not with the tough female ninja we saw earlier, but a teenage girl called Sayaka. This is possibly more realistic, but not very interesting. However, Matsuyama does spend a scene walking around in a fundoshi and I suspect there’s someone out there for whom this will make the entire movie. Me, I liked the wuxia sharks.

Okay, they’re not technically wuxia sharks. After all, they don’t practice martial arts or exhibit chivalrous or ‘xia’ tendencies. But they linger and pose in the air as they jump. They might just know kung fu.

Then there are the ninja-pirates, confusing all internet debates forever. The pirate ninja leader is played by Itou Hideaki and the fighting resumes in the impressive final showdown between him and Kamui.

Overall, I just wanted to cut out much out the middle part and leave in all the amazing silliness and ridiculous ways of offing people. More beer would’ve been nice too.

 

Kamui Gaiden Official Site

 

 

三月三十日の日曜日
パリの朝に燃えたいのちひとつ
フランシーヌ
Sangatsu sanjuunichi no nichiyoubi
PARI no asa ni moeta inochi hitotsu
FURANSHIINU
In Paris on the morning of Sunday March 30th,
A life was burned away.
Francine.

 

These lines from the 1969 song “Francine no Baai” (フランシーヌの場合) stayed with me long after the late evening enka/oldies ranking extravaganza had ended. It offered a window on a specific place, time and person, but omitted the event. What had happened to Francine in Paris on the morning of Sunday March 30th?

A Google search for Shintani Noriko, the singer who recorded the song, has links to recordings of this song and reveals she’s a pacifist whose song is considered important enough to be included in overviews of postwar music in Japan. Looking up world events and seeing if anything was listed under March 30th in English proved fruitless.

To discover the story of Francine, I needed to search in Japanese. I soon found that her full name was Francine Lecomte and, bizarrely, that didn’t help my search in English any more than before. However, the Japanese Wikipedia has tons of stuff on the issues surrounding the song and 1960s counterculture in Japan. From the page on Shintani Noriko:

“Francine no Baai” is about a 30 year-old French woman called Francine Lecomte who, on March 30th 1969, burned herself to death in an anti-war protest in Paris. The record went on sale on June 15th, declared to be Anti US-Japan Security Treaty Day since the same day in 1960 was when Kanba Michiko was killed in a student protest outside the Diet building,. Around 800,000 records were sold, making it a huge hit.

Worth noting is that none of these pages have an English equivalent and, as you can see, this incident IS listed in the Japanese timeline for March 30th. However, while the case of Francine is largely unremarked upon in English, it was reported by the Asahi Shimbun and taken to heart by a number of Japanese protesters at the time. To find out more about postwar Japanese protests in English, you can read a limited preview on Google Books of Organizing the spontaneous: citizen protest in postwar Japan by Wesley Makoto Sasaki-Uemura. You can also listen to the song itself by clicking on the embedded YouTube clip below.