Another Obayashi quick take

One of the many idol films helmed by madman Nobuhiko Obayashi, School in the Crosshairs (1981) is more akin to the wacky style of House (1977) than the more subtle fantasy dramas that tend to be the director’s best movies. This is not to say School in the Crosshairs won’t find its fans; it most certainly will, and not only people who reside in the director’s camp. In fact, the film is perhaps more remarkable as a Hiroko Yakushimaru movie than Obayashi effort – it marked the soon to be super idol’s final break through. And while Hiroko may have improved as an actress, she never quite looked as cute and adorable as she does here. One of the benefits of being aged 16…

However, it’s not only Hiroko’s innocent presence that dominates the movie. With an opening shot set in outer space (that’s right) and an introduction text babbling about a small girl and her large chest (in almost any other film this piece would get a sexual undertone), followed by one of the most beautiful black and white opening credits sequences, it’s obvious School at the Crosshairs is also very much a director’s media. Obayashi, at the top of his game as a visual artist, gives his young star appropriately beautiful backgrounds. The director plays with visual outlook throughout the film, but rather than applying ugly contrast boosting Obayashi often fades the colors, giving the film an extremely beautiful, grayish look. Bright colors are not forgotten though; the final 15 minutes is a fireworks display, in every sense of the word.

The storyline leans towards nonsensical. Hiroko plays a teenager, who, instead of getting interested in boys (the film features no romance subplot whatsoever), receives supernatural powers. She’s not the only magician in the school, though. A new transfer student tries to take over the school and form a “nazi party” of summoned students. A man from Mars also tempts Hiroko to join him to rule the universe. None of this makes much sense. The film remains very superficial; it looks and sounds beautiful, but it doesn’t have much else to offer. It’s a fun and adventurous film, but not a master class work in Obayashi filmography. Also notice that this film was made before Hiroko’s pop star career kicked off, so you’d have to wait till Sailor Suit and Machine Gun (1981) to hear her singing.

Recently seen TV shows #7

Sailor Suit and Machine Gun (Japan, 2006) – 2/5

Shinji Somai’s all time great idol film Sailor Suit and Machine Gun (based on Jiro Akagawa’s novel) was followed by two television adaptations, first by Fuji TV in 1982 (with Tomoya Harada in the lead role) and then by TBS in 2006. The new version consists of seven episodes, each running 45 minutes. Masami Nagasawa stars as Izumi, a normal high school put in charge of a 5 man yakuza gang when her father dies and no other blood relatives are found. She tries to keep the men out of trouble while another gang is making attacks against them. This is the basic pattern that is repeated over several episodes to the point of frustration. Visual output is modern and occasionally cartoonish, lacking the merits of the original film adaptation.

The few strengths include some great humour, interesting Asakusa setting, and terrific theme song which of course is a new version of the original theme performed by Hiroko Yakushimaru. Nagasawa fares ok on her own right, especially when wearing glasses, but any comparisons to Yakushimaru would be pointless. The most famous actors appearing in the show are Ken Ogata, whose talent is not utilized, and Kyoko Koizumi, who brings down every scene she’s in. Tsutsumi Shinichi, who plays Sakuma, is luckier. His character is decently written, unlike the other gang members who only exist to bring in cheap drama. It is describing that while in Somai’s film each death became as a surprise, or was revealed to the viewer only afterwards, the new television show builds up for inevitable tragic deaths and spends entire episodes weeping after the fallen friends.

Recently seen TV shows #6

Rebellion League of Girls in Sailor Uniform (Japan, 1986-1987) – 4/5

Rebellion League of Girls in Sailor Uniform was Nippon TV’s answer to Toei / Fuji TV’s hugely successful high school action series Sukeban Deka (1985-1987). It opened in late 1986, just before the second Sukeban Deka series ended. Yumi (Nobuko Sendo), Ruri (Risa Yamamoto) and Kei (Kyoko Goto) form a three girl rebellion league, backed up insider Miho (Miho Nakayma), in a fight against corrupt high school officials and teachers straight out of a Kinji Fukasaku yakuza film. Expect no peace when classes are led by Rikiya Yasuoka (the madman who tries to kill Sonny Chiba with a traffic sign in The Executioner)

Unlike Sukeban Deka, Rebellion League of Girls in Sailor Uniform doesn’t invest much into the storyline. There is a larger backstory that is introduced in the first few episodes, but in practice it is soon forgotten and the episodes are individual stories only very loosely related to any bigger scheme. The secrets revealed in the final episodes are also somewhat underwhelming. For this reason Rebellion League is rather superficial entertainment; the series is as good as the sum of its episodes, and episode quality is mostly defined by the amount of humour, original villains and inventive fight scenes.

It’s the fight scenes that are the show’s biggest asset. The action choreography, which is by Sonny Chiba’s Japan Action Club, is easily the best ever seen in a 1980’s idol product. It’s obvious from the beginning that these girls have taken a karate lesson or two before walking into the set, and they only improve as the show advances. Watching Sendo, Yamamoto and Goto doing Donnie Yen style split kicks, running on the opponents’ shoulders, or just delivering ordinary roundhouse kicks episode after episode often makes you forget that these girls – although naturally assisted by a skillful stunt team and editors – are indeed adorable idols. Slight stiffness in their performance doesn’t hurt the fun. JAC’s choreography gets most insane in episode 12 where the girls encounter an entire football team on battlefield.

Just like the Sukeban Deka girls, each of the heroines have their signature weapon. Yumi relies on boxing gloves, Ruri throws sharp pens, and Kei uses a combination of scarf and long yellow chain. When going into fight, the girls disguise themselves with outrageous hairstyles, make-up and white uniform. Especially Kei is an attention stealer on battlefield; the war painting on her face almost makes her look like a special forces commando on jungle mission.

Sendo and Yamamoto both contribute one song to the soundtrack. Rock band A-JARI perforns the theme song ’Shadow of Love’. A-JARI is also seen in front of the camera in one episode, and this is definitely a band cameo to remember, unlike their special episode in Toei’s Shoujo Commando Izumi one year later (another high school action series that A-JARI worked on). The songs are all good, however, the amount is quite small compared to some of Toei’s series. Rebellion League also lacks a memorable score by a composer such as Ichiro Nitta.

Sendo, Yamamoto, and Goto are all good in their roles, but not unforgettable. Miho Nakayama, often marketed as the star of the series, is actually a supporting player and doesn’t even appear in every episode. She only becomes equal to the other three leads in the last three episodes. Nevertheless, she’s the first billed star in the opening credits till episode 4, after which she starts taking turns with the real star, Sendo. Nakayma’s selection of weapon is explosive roses. Although she was a successful pop star, most western fans probably know her best from Shunji Iwai’s Love Letter (1995) in which she played the leading role.

Despite its shortcoming in terms of story and characters – as well as a couple of lesser episodes – Rebellion League of Girls in Sailor Uniform is great, occasionally jaw droppingly cool high school action fun. What it loses in depth, it takes back with crazy opponents, ( blind caucasian teacher with a huge afro), solid cast and visiting stars that include Kinya Aikawa, Shinzo Hotta, Noriko Hayami and Jun Izumi, and first grade action scenes. Not a Sukeban Deka beater, but a great challenger.

Recently seen movies #154

Early Spring Story (Japan, 1985) – 3,5/5

Shinichiro Sawai had succeful run with the Kadokawa idol genre when he first directed Hiroko Yakushimaru in the award winning Tragedy of W (1984), and then followed it next year with Tomoyo Harada’s Early Spring Story. Harada plays Hitomi, a 17 year old student who develops a crush on a middle aged salesman (Ryuzo Hayashi). Although the romance sounds a bit dubious, and later the screenplay starts resembling a soap opera in some respects, Early Spring Story is actually a very good movie. It lacks sentimentalism, which makes it more interesting than many other human relationship dramas. Harada, who also sings two songs in the film, is very good in her role, creating a character that is likable but also a little bit selfish. She also has some very funny scenes and lines of dialogue (“I think middle aged women are scary”). Hitomi’s father is played by Kunie Tanaka. Most viewers probably remember him from Toei’s yakuza movies, but here he gives a very different kind of performance. Two other supporting players should also be pointed out; the former Nikkatsu erotica queen Junko Miyashita in a very brief role as Hitomi’s mother’s friend, and Nobuko Sendo, just one year before her starring role in the JAC action fest Rebellion League of Girls in Sailor Uniform (1986), as Hitomi’s friend.

Recently seen movies #153

Tragedy of W (Japan, 1984) – 4/5

An important film on super-idol Hiroko Yakushimaru’s career, Tragedy of W earned her the Japanese Academy Award nomination for best actress, serving as an official proof of that she’s more than just a cute face with a phenomenal pop-star “side career”. Tragedy of W, however, is not a very typical idol film. Based on a novel by Shizuko Natsuki, the film is 100% story and character driven. There is no added cuteness factor other than Yakushimaru’s natural beautiful looks. Her role as a young actress who is willing to go to great lengths for fame and success also features bits not usually seen in idol movies. Another interesting aspect is the film’s structure; the theatre play within the film, and the actual storyline slowly start resembling each other. Director Shinichirô Sawai takes use of this and allows the entire film play very theatrical which works especially during the second half.

Recently seen movies #152

Sailor Suit and Machine Gun (Japan, 1981) – 4/5

Probably the most important – and best – idol film of all time, Sailor Suit and Machine Gun was producer Haruki Kadokawa’s final breakthrough in the idol film genre. It was a bit ironic that while the traditional studio loyalty among filmmakers in had come to an end in the late 70’s, only a few years later Kadokawa gained almost exclusive rights to the new generation of idol actresses. Noriko Watanabe, Tomoyo Harada, and most importantly Hiroko Yakushimaru, replaced the great Momoe Yamaguchi who had just retired from show business at the age of 21.

Yakushimaru – commonly know just as Hiroko – and usually referred as super-idol rather than idol, made her cinema debut in 1978 when she was just 13 years old. She played the leading female role in Kadokawa’s slightly megalomaniac modern action film Never Give Up, starring Ken Takura. Yakushimaru’s real breakthrough came in 1981 when she starred in Hausu director Nobuhiko Obayashi’s fantasy film School in the Crosshairs and later the same year in Shinji Somai’s Sailor Suit and Machine Gun.

Somai, sadly ignored in the west, is perhaps the best Japanese director of the 1980’s. His directorial was Tonda Couple (1980), a small drama-comedy starring Hiroki Yakushimaru. Sailor Suit and Machine Gun was Somai’s second film. Yakushimaru plays Izumi Hoshi, a normal high school girl who inherits a small yakuza gang. The leader of the gang had passed away and named his nephew – Izumi’s father – as successor. Unfortunately Izumi’s father dies in a traffic accident before he even dicovers of his new appointment. According to the yakuza code the position now transfers to the only remaining blood relative – Izumi.

On surface Sailor Suit and Machine Gun is a discreet parody of the yakuza film genre. Later in the 80’s idol films and television shows came to lean heavily on action, with Toei’s Sukeban Deka dominating the so called High School Action genre. Sailor Suit and Machine Gun does not follow this formula. Despite the high flying concept Somai is far more interested in characters and quiet little scenes. There are several magnificent moments where all action nearly freezes – including the machine gun finale which is not only very short, but also the only scene where the film’s title becomes reality. The adrenaline seeking Ryuhei Kitamura generation will be severly disappointed and left wondering where all the action is.

The more outrageous moments are in fact one of the the film’s weak points. Somai is not entirely comfortable with a screenplay that features over-the-top supporting characters, such as a maniac drug lord called Fatty (Rentaro Mikuni). Some of the actors, especially Shinpei Hayashiya who plays a member of Izumi’s gang, also play their role in too loud volume which doesn’t go well together with Somai’s perceptive and slightly arthouse-esque directing. Nevertheless, the core idea – a high school girl becoming a yakuza leader – is undeniably very memorable and one of the reasons why the film became so popular.

One of the more suprising and probably confusing to many viewers sequences is a short sex scene between Tsunehiko Watase and Yuki Kazamatsuri. This scene briefly features ”black bar blocking the view” censorship that has accompanied Japanese erotic cinema since the dawn of woman. This scene was most likely intended as a reference to Kazamatsuri’s career; she was a regular actress in Nikkatsu’s pink films in the early 80’s. International audiences have most likely seen her in Tarantino’s Kill Bill Vol. 1, where she appears night club host. Her performance in Sailor Suit and Machine Gun is somewhat adequate, but outshadowed by Yakushimaru and action film veteran Watase.

Director Somai’s most important tool has always been his camera. The director has great skill in planning ane executing long and complicated takes. Although in 1981 Somai’s skills were not yet fully developed, Sailor Suit and Machine Gun features an excessive amount of impressive camerawork. There is a large number of long takes, including a classic sequence that takes the characters from the streets to a shrine and ultimately to the other side of the district riding a motorcycle. This six minute scene was completed without a single edit.

The 17 year old Hiroko Yakushimaru is at her best in Sailor Suit and Machine Gun. Her acting skills improved later – at least in the eyes of critics and the Japanese Academy Award commitee that nominated her as the best actress of the year in 1984 for her role in Tragedy of W – but Yakushimaru’s acting has rarely been as fresh and enjoyable as it is in Sailor Suit and Machine Gun. This film also marked the beginning of her hugely successful pop-star career that produced more than 100 songs. The theme song for Sailor Suit and Machine Gun is among her best. It is heard in the film just before the magnificent final scene, and is followed by one of the most memorable ending lines.

After its hugely successful release in 1981, Kadokawa released a 130 minute ”Complete Version” in 1982. This longer cut installs 18 minutes of additional footage into the film. Some of the additions make the narrative more fluent – and there’s an important scene featuring Hiroko drying her hair – but the Complete Version isn’t really a better movie than the original cut. 130 min is slightly too much for this movie, and there’s a long sequence where Izumi nearly gets raped that feels out of place. Also in 1982 a Sailor Suit and Machine Gun television series was aired on Fuji TV. This series featured the future star Tomoyo Harada in her fist acting role. Incidentally, her next work was a television version of School in the Crosshairs, an adaptation of yet another a Hiroko Yakushimaru movie. Sailor Suir and Machine Gun returned to TV screens one more time in 2006 when TBS broadcast the second small screen adaptation, this time with Masami Nagasawa playing the leading role.

Recently seen movies #148

Linda Linda Linda (Japan, 2005) – 4/5

Nobuhiro Yamahita’s first mainstream film became a big international hit and deservedly so; it’s a brilliant movie. Yamashita was offered a rather typical studio film screenplay about four high school girls who form a band and perform at the school festival. Together with his long time screenwriting partner Kosuke Mukai Yamashita made some changes to the storyline (such as making one of the characters Korean) and delivered a film that is both a terrific crowd pleaser and still retains plenty of Yamashita style. Most importantly Yamashita’s directing is fresh, lacking the plastic feel of many other youth films, and paying attention to details. Only a couple of scenes feel overly conventional, and these appear mostly during the film’s final third. Some of the humour – such as the communication problems – remind of the director’s older films. The soundtrack is terrific, featuring a score by James Iha, plus four leads performing songs by the classic punk rock band The Blue Hearts. Aki Maeda, Yu Kashii, Base Ball Bear Sekine Shiori and the terrific Doo-na Bae play the lead roles. Although this was the first film Yamashita made with a new crew, many familiar faces are seen in supporting roles and cameo appearances. These include Yamashita’s regular actors Hiroshi Yamamoto and Takeshi Yamamoto, and the Midnight Eye critic Jason Gray as a Ramones member!

Recently seen movies #134

Sukeban Deka: Code Name = Asamiya Saki (Japan, 2006) – 2/5

The original Sukeban Deka was made in a time when idols could act and sing. Kenta Fukasaku’s new film stars Aya Matsuura, who does act and sing – and has released a great foot massage video – but doesn’t convince as Asamiya Saki one bit. Rather, her performance is unintentionally funny and enjoyable. The same applies to some extent to director Fukasaku, who hasn’t improved since his earlier achievement Battle Royale 2. Fukasaku’s ‘million cuts with slowmotion, flashbacks and a random black and white image’ –directing at times reaches some minor trash value, at others gives you a headache. The action scenes are mostly gci, falling far behind Yui Asaka’s genuine yo-yo art in excitement.

However, the new film is not entirely without merits. Against all odds the great Hiroyuki Nagato is not dead but back and looking exactly the same as he did 20 years ago. The original Sukeban Deka Yuki Saito also pays a brief visit at the end of the movie. Riki Takeuchi isn’t too bad either, although he’s helped by the fact that most actors surrounding him make even small acting talent shine. This refers to wooden man Shunsuke Kubozuka, zombie killer Tak Sakaguchi, and Hello! Project escapees Rika Ishikawa, Erika Miyoshi and Yui Okada, creating a poor man’s Onyanko upgrade. The soundtrack – with two songs from Matsuura and Miki Fujimoto – isn’t much to write home about but does feature one good tune that is played in the scene where Saki puts on her new new leather battle suit. An enjoyable scene, as out of place in the Sukeban Deka universe as it might be.

Recently seen movies #133

Sukeban Deka: Counter-Attack of the Kazama Sisters (Japan, 1988) – 4/5

The first Sukeban Deka movie, despite being solid entertainment, failed failed to live up to the TV shows. Now Hideo Tanaka, who had been helming the school girl fighters since season one, gives his second try at silver screen adaptation. The outcome is an unexpected success. Taking place after the end of the third season, the film takes a completely new direction and in this sense is a logical continuation to the franchise where the preceding TV shows were also all very distinctive. Traditional Sukeban Deka activity has been closed down and replaced with special forces lead by young politician whose goal is to fight crime at any cost and without mercy. Yui, at the request of the Sukeban Deka founder Kurayami, has joined the forces but cannot accept the merciless methods – and razor blade yo-yo’s – used by the new crime fighting unit. She soon finds herself in a situation where her former colleagues have become her enemies.

Counter-Attack of the Kazama Sisters is much darker than any of the preceding adventures – rather ironic considering Asaka is the most adorable of the three sukeban deka’s – being both violent and displaying a close future vision that even occasionally reminds of Paul Verhoeven’s scifi movies. Compared to the first film Kazama Sisters is better focused, less over-the-top and notaby punchier. Yui’s sisters Yuma and Yuka (are not given too much screen time – although each girl performs on the soundtrack – but this probably works to the benefit of the film. Hiroyuki Nagato’s extended role also comes as a positive surprise as this is one of the few times we get to see him outside of his office.

Recently seen movies #132

Sukeban Deka: The Movie (Japan, 1987) – 3/5

It’s ironic that Sukeban Deka’s movie versions have been widely distributed in the west, while the TV shows – that are essential for understanding the films – have never been brought outside Asia. On the other hand, yo-yo armed schoolgirls that are never thoroughly introduced to the viewer, and references to events that are never explained, will probably offer an enjoyably confusing experience for first timers. This is how most Japanese cult movies are advertised in the western market anyway.

In certain ways Sukeban Deka: The Movie could indeed be a more rewarding experience for new viewers. Hitting the theaters a few months after the closing of the second series, the film brings together the old cast (Minamino, Yoshizawa and Sagara) and adds Yui Asaka from the third series. Unfortunately much of the potential is wasted. Minamino dominates the screen at the expense of other actors. The television show’s best character, sukeban Okyo, played by the wonderful Haruko Sagara, doesn’t get much room, and even her hair is wrong. The same applies for Yoshizawa, and one can only wonder what was the reason for including Asaka. Her character features a profile completely different from that of the Sukeban Deka II fighters, but this delicious opportunity for comparison is largely ignored.

Nevertheless, the film version is by no means a bad movie. It just doesn’t compare well against the television shows which count among the most iconic ever made. The film is more over-the-top and less effective. However, it is a good amount of fun and just seeing the familiar cast together again is wonderful. There’s also many fun references and jokes like the Sukeban Deka author Shinji Wada in a cameo role, and a new super yo-yo that is so powerful that Saki must use an armor to prevent it from crushing her own chest. Ichiro Nitta’s soundtrack is once again cool, and Minamino’s new theme song is great. Putting comparisons aside, Sukeban Deka is an enjoyable film on its own.