Yesterday, August 15, was the 70th anniversary of Japan’s surrender at the end of World War II. It was on that date in 1945 that a recorded speech by Emperor Hirohito was broadcast to the Japanese people to formally declare surrender and end all activities related to the war effort. (My father, then stationed at Camp Pendleton in California, was one of the marines assigned to the invasion fleet being prepared to embark for Japan.) I used the occasion yesterday to finally watch a lengthy film (157 minutes) entitled JAPAN’S LONGEST DAY (1967), which dramatizes the events of August 14-15, 1945, and the decision to agree to surrender terms and formally end the war. Available on DVD from AnimEigo, it was produced in black-and-white by Toho Pictures and directed by Kihachi Okamoto (SWORD OF DOOM), with an all-star cast of Toho stars, including Toshiro Mifune, Takashi Shimura, Chishu Ryu, So Yamamura, Yuzo Kayama, Susumu Fujita, and practically every actor we know from every kaiju movie: Akihiko Hirata, Akira Kubo, Jun Tazaki, Hiroshi Koizumi, Yoshio Tsuchiya, and Yoshifumi Tajima, with only Akira Takarada and Franky Sakai notable by their absence. Tatsuya Nakadai does the narration. There’s an extraordinarily large number of speaking parts, most of them military officers, and at a certain point, it becomes very difficult to keep track of who’s who and what their roles are in certain events. There’s only one woman with a speaking role in the entire film, a household servant in the home of Prime Minister Suzuki, and she’s seen briefly when a group of rebellious soldiers tear through the place looking to kill Suzuki. (The IMDB cast list identifies the character as Yuriko Hara, played by Michiyo Aratama, although the woman is never identified in the film.)
Why is this movie so little-known? Yesterday I was checking the day’s schedule for the Fox Movie Channel and I came across the listing for the THE SECRET OF CONVICT LAKE (1951) at 10:25 AM (EST). The onscreen description sounded really intriguing. I didn’t write it down and it’s no longer available on the Fox Retro website, so I can only tell you it said something about five escaped convicts entering a western town populated entirely by women, with a cast topped by Glenn Ford, Gene Tierney, Ethel Barrymore, Ann Dvorak and Zachary Scott, surely enough to make me sit up and take notice. This premise and that cast are not to be taken lightly. I then looked it up in Maltin’s Movie Guide (the only place I’d ever previously seen a reference for this film) and it said, simply, “Set in 1870s California, escaped prisoners hide out at settlement comprised largely of women; fine cast makes the most of script.” It gave the film a **1/2 rating, which, in Maltin, can often be taken as a *** rating. The director was Michael Gordon, who had a few credits I liked very much, including PILLOW TALK and PORTRAIT IN BLACK. So I made plans to watch it. This is the kind of minor studio film that used to play constantly on local broadcast TV back in the day when local channels ran movies during the day, at night and on weekends, yet I don’t recall this one ever playing.
The Metropolitan Museum of Modern Art in Manhattan is currently showing an exhibit called “China Through the Looking Glass,” which runs until September 7, 2015. It takes up space on three floors (including the Anna Wintour Costume Center) and offers dozens of outfits and costumes by famous designers based on Chinese motifs and inspirations, along with other art objects (vases, sculptures, installations) and other commercial objects (e.g., perfumes).
What grabbed my attention most were the various screens in the galleries on which were projected film clips from famous Chinese, Hong Kong and Hollywood films. I counted a total of 24 films represented, most of them well-known, with only one completely new to me. They were grouped by eight chosen themes. Six of the themes ran montages of three to five films each on continuous loops, while two themes stuck to one film each. The screens showing these film clips accompanied display cases featuring costumes or art objects related to the theme.
This entry is part of the 1947 Blogathon sponsored by Shadows and Satin and Speakeasy. I chose two films from 1947 to write about and my original plan was to do separate entries on them, but after watching them back-to-back, I realized that the contrasts between them were so interesting that I thought it best to do a comparison piece. The first is ONE WONDERFUL SUNDAY, Akira Kurosawa’s incisive portrait of postwar lovers in Tokyo caught up in a cycle of poverty, and I chose it because it was a Kurosawa film that I’d never seen before and this would be a good opportunity to finally see it.
The second is VIOLENCE, a low-budget melodrama from Monogram Pictures about an organization exploiting war veterans for power and profit, and I chose it because it was the closest thing I could find to a conspiracy thriller from 1947, a year filled with events in the U.S. that fueled so many conspiracy theories for years to come.
One film was made in a country recovering slowly from defeat and the ravages of war, while the other was made in a country flush with the glory of victory and newly emergent on the global stage as the dominant world power, yet the stories they tell offer a reversal of sorts.
Back on June 1, 2014, I wrote about “The Poetry of Kaiju,” as found in the 1964 kaiju (Japanese monster) film, GODZILLA VS. MOTHRA (aka GODZILLA VS. THE THING), with its stunning images of Mothra eggs and the otherworldly twin fairies who guard them.
This past month I opted to watch three additional films about Mothra, the giant caterpillar-turned-butterfly, and its fairy guardians, in search of similar poetic imagery.
Sannin Musume is the name given to the informal starring trio of Hibari Misora, Chiemi Eri and Izumi Yukimura, the three ranking pop singers in Japan in the 1950s, when they made movies together. They made a total of four and I’ve written about the second and third ones here, ROMANCE MUSUME (1956), on November 9, 2014, and ON WINGS OF LOVE (1957) on March 8, 2015. I’ve seen the fourth, HIBARI, CHIEMI, IZUMI SANNIN YOREBA (1964), but haven’t written about it here yet. The first was JANKEN MUSUME (1955), which I wrote about previously on my J-pop blog, but used lesser-quality screen grabs, so I decided it was high time to watch it again and cover it here. My emphasis in the earlier pieces was on the musical numbers and the films’ frequent uses of American pop songs of the era, sung in both English and Japanese.