Death of Detroit: “The Karate Kid” vs. Eminem

I finally got around to seeing The Karate Kid (i.e. last year’s remake starring Jaden Smith and Jackie Chan) last weekend.

Though not a revolutionary classic of filmmaking by any means, it was still pretty enjoyable and interesting from my perspective. One reason is that it is the only Hollywood film I have seen that captures the modern experience of being an American expat in Asia — particularly of being an American kid coming to Asia. The protagonist, 12-year-old Dre Parker, goes through the same stages of frustration and emergence in Beijing that I went through as a 15-year-old in Osaka. This balances to hilarious effect with the “overawed clueless expat” character of Dre’s mother Sherry, who spends most of the movie fawning on the wonderfulness of everything Chinese.

The other interesting facet of the film is its historical context in the industrial decay of America and simultaneous emergence of China. At the very beginning of the film, Sherry and Dre move from a middle-class existence in Detroit to a middle-class existence in Beijing, and a long portion of the opening credits consists of shots of the decaying metropolis of Detroit. The reason for their move, which is only briefly mentioned in the film, is that Sherry worked at a car factory which closed down, and the only way she could keep working was to transfer to a factory in China. When Dre gets exasperated and wants to go home, Sherry emphatically tells him that they cannot go home because there is nothing left for them.

In short, it’s a movie primarily about a kid overcoming his weaknesses through kung fu discipline, and secondarily about America, China and the expat experience in the 21st century. On the latter point, it does a much less groan-worthy job than the likes of Rising Sun and Gung Ho did during the Japanese emergence of the late 1980s.

The decay of Detroit is, of course, nothing new; there have been a few big movies made on the theme, such as the non-fictional Roger & Me in 1989 and the fictional 8 Mile in 2002. Now Chrysler is using the legacy and the decaying grit of Detroit as selling points for their high-end cars; on Sunday, they ran the following ad during the Super Bowl, which is the most-watched TV program in the US just about every year, and got Eminem to pop in as a spokesman. (Hat tip to James Fallows for the link.)

The ad conveniently ignores the fact that Chrysler will be owned by Italians as soon as it pays off its debts to the US federal government. But hey, image is everything.

Ghost to be remade as Japanese film starring Nanako Matsushima

The title says it all. From Nikkei (sub reqd), we learn that Paramount is doing a co-production with Shochiku to remake Ghost, the 1990 the Patrick Swayze/Demi Moore romance. It will star Japan’s tallest movie star Matsushima Nanako opposite Korean actor Song Seung-heon. NTV is apparently also involved. The US studios are apparently broadening their cultural horizons because their native, English-language content isn’t as popular with Japanese audiences as it used to be. Japan is no doubt a lucrative market for Hollywood since movie tickets cost significantly more here than they do in the US.

Ghost was a pretty sweet movie, so a remake might make for some good viewing. More to the point, I love the idea of remaking classic American films for Japan.

Personally, I want to see a Japanese version of Be Kind Rewind. “Sweded” versions of Seven Samurai, Godzilla, and Audition would be intense.

Or maybe Mr. Baseball, only in reverse? Given how times have changed, the story of an aging Japanese ballplayer getting sent to a small team in the US is probably more common now than the scenario in the original.

Akiyama Saneyuki to the Czar: “I want to play a game…”

I have recently enjoyed downloading episodes of Sono toki Rekishi ga Ugoita, the iconic NHK series on key moments of Japanese history. (Much to my surprise, these episodes are available due to a passionate following that the series has in Taiwan, and many episodes are available via bit torrent download, with Traditional Chinese subtitles.)

In watching these episodes, I was pretty horrified to see that, for an episode regarding the strategy behind the victory of the Battle of Tsushima, the theme music from the horror film SAW was used — just see these two key scenes that I clipped for the purposes of this blog post (the break between the two separate scenes is seamless, but there is a 20 minute gap between scenes at 1:22).

Why on earth does NHK pick this kind of music, and what’s the decision-making process behind the selection? For someone who knows where the music comes from, it really ruins the otherwise well-produced TV documentary.

EXCLUSIVE: Early review of Darling wa Gaikokujin

In a Mutant Frog exclusive, here is an early review of the “My Darling is a Foreigner” live action film from regular commenter Peter:

Well kids, I just came back from the sneak preview of ダーリンは外国人 at Roppongi Hills. My wife is a fan of the first couple of books, and probably ended up on a mailing of some sort along the line, through which we got invited. Apparently they only invited international couples, and interestingly enough the movies subtitles were in Japanese for the English dialog and in English for the Japanese dialogue.

The movie was just about at, or perhaps even a bit worse than, my expectations. I liked the use of splicing in clips of Oguri’s animation, as well as spot interviews with international couples. But… There were more than a few scenes where I was biting my fist a la Bea Arthur from The Golden Girls, and there was only one scene in which I laughed: Tony Laszlo himself makes a well-placed cameo in the movie that was worth a chuckle. But screenplay, casting, pacing, music, etc. was on par with the average Japanese made-for-TV movie.

Inoue Mao looks less like Oguri and more like Asada Mao. Jonathan Scherr looks less like Tony and more like Dustin Diamond (Screech from “Saved By the Bell”). Oguri in the story is not from Kansai, and Tony ends up being from New Jersey. I guess no one cared about these details to begin with.

Following the movie, Inoue, Scherr, the director Ue, Oguri, and Tony came out on stage to say a few words and answer pre-screened questions from the audience. All of them were a bit nervous, but regardless of that I was surprised at how clumsy some of the exchanges were.

e.g.
Q: If you moved to a foreign country and had to take one thing (mono) with you, what would it be?

Tony: In Japan, ‘mono’ can be 者, in which case I would bring Saori. If the ‘mono’ had to be a thing (物), then…I would bring dried seaweed (nori).

MC & Audience: …. (huh?)

Looking at the post above, I notice this quote:
“The producer Kazuya Hamana (head of TV content at TBS) spent five years preparing for this film and plans to try and recreate the feel of the original comics for a story that everyone can relate to.”

I don’t think any of the feel was recreated, and it’s kind of sad to think that five years of work went into this movie. I mean, this movie was pret-ty damn bad…

Thanks, Peter. Nice to know I won’t miss anything by skipping this one.

Legend of Koizumi anime

Yes, “The Legend of Koizumi”, a completely gonzo comedy manga in which international affairs are all settled by world leaders playing mahjong that was once described by an eminent critic as “the best manga ever,” has finally seen n anime adaptation. It is being released as an OVA instead of being shown on TV, and will go on sale in late February for ¥2940. (Watch this space for news.) In the meanwhile, the first section has been uploaded to Youtube, and with English subtitles for those, like myself, who can’t follow all the mahjong talk.

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Incidentally, I love all the little references in there, like Kim Jong Nam’s Mickey Mouse ears, recognition that Taro Aso was on the  Olympic rifle team, and a GWB reference everybody will get, but what I really want to see is an adaptation of the storyline that shows Pope Benedict employing ancient Catholic magic to win at mahjong.

Mrs. Adamu now blogging!

I am overjoyed to announce that after years of watching from the sidelines, Mrs. Adamu will now be sharing her thoughts with the world at her new Japanese-language blog, The Bibouroku. She decided to start writing as a way to record her experiences along with profiles and reviews of interesting people in the news, movies, music, and so on. So far she’s got posts on the film Slumdog Millionaire and singer M.I.A., who recently made a spectacle of herself by performing at the Grammys just days before she gave birth to her first child.
While I have to admit a bias here, trust me when I say Mrs. Adamu (writing under the mysterious pen name “Shoko”) offers a unique perspective on these issues thanks to her background studying in the States, traveling through India, and working with the underprivileged in Thailand.

Followers of Mutant Frog will know that Mrs. Adamu is my co-adventurer here in Tokyo. What you might not know is that much of my posting activity would be impossible without her kindness, patience, and support. I hope you’ll all join me in wishing her the best in this new initiative!

PS: You can subscribe to updates at the blog’s RSS feed.

Sean Connery vs. Japan: “Rising Sun” and “You Only Live Twice”

The man himself
The Man Himself

In a rare instance of parallel lives with MF commenters (who were doing the same thing in the replies to this post), I got into a spontaneous fit of impersonating Sean Connery’s Japanese last weekend. When my girlfriend started demanding the original article for comparison purposes, we decided to have a private screening of Rising Sun, where SC speaks a lot of Japanese, and You Only Live Twice, where he actually “becomes” Japanese.

Continue reading Sean Connery vs. Japan: “Rising Sun” and “You Only Live Twice”

Children of Darkness

On Saturday, I went with a friend of mine to see the “Children of the Dark“(闇の子供たち) , a new film by Japanese director Sakamoto Junji primarily about child prostitution in Thailand. The story is primarily told through the perspective of the two Japanese main characters, a reporter for Bangkok bureau of the fictional Japan Times (no relation to the actual English language Japan times, but more of a pastiche of the Asahi or Mainichi. I believe the Mainichi was thanked in the credits) named Nambu, and a Japanese college student named Keiko, who is volunteering at a tiny Bangkok NGO. Secondary characters include Nambu’s mildly irritating 20-something Japanese backpacker/photographer sidekick, and a wide selection of Thai criminals, NGO workers, and abused children.

Except for a brief trip back to Japan around the middle of the film, it takes place entirely in Bangkok. The dialogue is mixed Thai and Japanese, probably with Thai dominating. Nambu speaks appropriately good Thai, as a foreign correspondent should (even if they don’t all), and Keiko speaks a bit haltingly, but according to the subtitles at least she seems to have no trouble expressing complex thoughts, or understanding what anyone says.

The central plot thread is your fairly typical “newsman uncovers a story and chases it ragged even at the risk of his own life” and makes sure to include a selection of the typical cliches, such as a back-alley gunpoint menacing in which none of the stars are harmed, despite a secondary Thai character having been shot in the head in another scene moments before or the photographer’s constant wavering between going home to safety in Japan or staying in Thailand to fight the good fight. At the beginning of the film, Nambu receives a tip that Thai children are being murdered so their organs can be transplanted into dying Japanese children. This is just one of the ways in which children become disposable in the film, but I felt like the addition of this imaginery (although certainly not impossible) scenario to the array of real horror detracted from the film’s effectiveness.

The primary goal of the film is the depiction of evils inflicted by adults on children, and there are a number of truly unpleasant scenes involving child prostitution by foreigners of both Western (American and European) and Japanese origin, as well horrendous mistreatment of the child slaves by their Thai captors. These sorts of terrible things happen all day long in many parts of the world, and it is understandable that the film makers wanted to depict it on screen, but I found the “deeper” messages to be more muddled than sophisticated.

Incidentally, the Japanese Wikipedia article on the film has a rather odd criticism I’d like to mention briefly. It mentions that Japanese blogs (2ch-kei foremost I imagine) have called it “an anti-Japanese film” since it “puts all of the blame for the selling of children in Thailand on the Japanese.” This claim is patently absurd. Of course a significant part of the film’s purpose IS to blame Japan predatory Japanese, but Western perverts are given at least as much of a spotlight in the brothel vignettes. And the Thai criminals who actually run the victimization business are hardly made out to be innocent bystanders.

For some reason I was mildly irritated by Keiko’s inexplicably competent Thai throughout the film, but it may simply have been the fact that I found the character generally pointless. When she first arrives at the NGO, one of the ladies working there asks her “Why did you come to Bangkok, isn’t there some good you can do in Japan?” While this question lingers throughout the film, and naturally Keiko does come to do some good in Bangkok, her motivations are never explored and her character acquires no depth. Why did she come to Thailand? Why is she even in this movie? She is tabula rasa- a standin for the audience, or rather for the way the film maker wants the audience to think. Her initial appearance suggested that she could have been an aspect of a message that I think the filmmakers were trying to convey-that Thailand (and presumably other countries like it, although no others are mentioned) are playgrounds for Japanese and Western neo-colonialists to act out their fantasies of either depravity or heroism without repercussion. However, despite this theme perhaps being touched on ever so briefly during her first  appearance, Keiko turns out to be nothing but an autonomic cliche of a young NGO volunteer.

I hope my ramblings do not give the impression that I hated the movie- I did not. I would, in fact, say that it was overall decent. But I did find it very disappointing. It starts well, and has a number of powerful scenes of horror and despair, but it is too long, the story is meandering and a bit cliched, and one of the leads is just dull to the point of no longer being annoying. Those with a particular interest in the problems this film addresses should see it, but wait for the DVD.