By Stephanie Zacharek
By Inkoo Kang
By Voice Film Critics
By Alan Scherstuhl
By Alan Scherstuhl
By Stephanie Zacharek
By Stephanie Zacharek
By Aaron Hills
How did the Japan Society series come about? I shamelessly put myself forward. I come to Japan Society all the time. I'm on their board. I'm crazy about Japanese films. Moviegoing is still my great passion. It isn't that I care about literature less, I just feel a certain kind of ecstasy hunting down films I admire, and reseeing the ones I love. You know, this goes back to our days in Paris when we'd go to the Cinémathèque night after night. I see at least five films a weekand in theaters. And I feel a certain tropism toward Japan, with my twin loves of Japanese movies and foodI mostly eat Japanese food. I've been going to Japan almost every year since 1979.
My idea for the series was never to make a selection of eight films that would be representative of Japanese cinema. The subject is too magnificent, too copious, too voluminous. You could never pick out eight films to sum it up. But since strong women characters and great actresses have always been a feature of the classic Japanese cinema, I selected a number of films with three actresses who are, in my opinion, among the greatest performers in the history of world cinema: Kinuyo Tanaka, Hideko Takamine, and Setsuko Hara.
Could you define Setsuko Hara's appeal? I see her as quite Garboesque. I don't say this because it's been said that she's a bit grand and reclusive. I've been told that the Japanese find her rather Western-looking. Not because of anything cosmetic she's doneperhaps it's the head-to-shoulder ratio; she has a large head. She's very special, an absolutely incandescent woman actorshe's in two films in the series. But of course, there's also Hideko Takamine, the star of Naruse's Floating Cloudsthe underrated Naruse. The three acknowledged "masters" of Japanese cinema are Ozu, Mizo- guchi, and Kurosawa, but Naruse doesn't really represent, as it were, a fourth point. I think that Naruse, whom I adore, is somewhere halfway between Mizoguchi and Ozuhis sensibility and subjects overlap with both.
What moves me in Japanese cinema is essentially the period from the '30s to the '60sthe decade leading up to the Second World War, and above all, the movies of the post-war era. Starting around 1944, and right up into the '60s, you have the most amazing portrait or diagnosis of the anguish of people confronting their solitariness. I'm not talking about the family dramas. Take, for instance, Kurosawa's Stray Dog. It's a noir movie, a detective story, but extremely poignant because this devastatingly handsome young [Toshiro] Mifune is alone, not in a tough Sam Spade wayhe's just a beautiful lost soul.
Your 1996 New York Times piece "The Decay of Cinema," in which you ponder the decadence of cinema and mourn the death of cinephilia, created quite a stir. Have things happened on the scene since then that would lead you to reconsider your views? Well, to begin with, I had talked about Béla Tarr and other major directors in the piecewho simply disappeared from it. It was radically, seriously cut by the Times. I tried to withdraw it, offered to return the payment. Nothing doingthey said sue us. Yes, there are certainly a number of contemporary filmmakers whose work I care about. For us old Francophiles, it's certainly a relief that French cinema has emerged from the doldrums. I got sick of a certain kind of tame worldliness and bland sophistication that was evident in French cinema for so long and then suddenly along came Claire Denisnumber onebut also Léos Carax, Laurent Cantet, and if Belgium counts, the Dardenne brothers. Denis is the most daring; she's really a wild one. I like her films even when I don't like them.
And I'm still a glutton for movies. What I'm looking for is an ecstatic experience. In the end, it's doesn't matter what the subject is, whether it's the incompetent hoodlums of Hou Hsiao-hsien's Goodbye South, Goodbye, or the mannered privileged bourgeois people in Alain Resnais's Melothe worlds of these two films are opposite extremes in every sense, yet as experiences they have something in commonthey're indelible visually, and they take their time in a way that allows you to feel something. I like long films. Béla Tarr tells me I hold the world's Sátántangó record. I've seen it from start to finish 15 timesand it's what, six hours?and have not been bored for a second. I love total immersion. One wants to be transported.
You had a good deal to do with the founding of the Sarajevo Film Festival. How did it happen? There was a marvelous fellow there called Miro Purivatra who ran a gallery, a kind of alternative theater space, a bit like the Kitchen. It was the center of whatever creative was going on. My son David had gone to Sarajevo before mehe met Miro, who became one of my first friends there. He put up an art show in a building that no longer had a roof and was being shelled, and people would come. He loved movies. We talked about film a lot. Well, at first, the siege was still on, but I was going in all the timeI brought in cassettes in my backpack. We got a generator from the army and showed them on a little flickering TV monitor in a basementand that was the first Sarajevo Film Festival. It has since grown into this wonderful event.
You recently said your future will be principally devoted to writing fiction. Is that what you enjoy doing most these days? Are there plans involving films? I want toI will make more films. If only I could stay homethat's my problem. I had two big experiences in the '90sI lived in a war for a couple of years, I lived surrounded by war, and I became very ill again, with cancer for the second time. I learned a lot that I wanted to share, so I wrote a little book, and essay, Regarding the Pain of Others, about warthrough the theme of what people can or think they can learn about war through images. There is a new novel in the worksI don't want to say much about it except that it takes place mostly in Japan. It's not quite contemporary, but I'm moving forwardThe Volcano Lover was late 18th century, In America is 19th century, and the new novel is set partly in the 1920s, partly in the 1950s. And to boucler le boucle, the later passages of the book are influenced by my experience of the kind of moral anguish and pathos and solitariness that you find in the magnificent post-war films of directors like Ozu and Naruse, in Kurosawa's Stray Dog and No Regrets for Our Youth.
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