SPOTLIGHT: Jin-Roh: The Wolf Brigade

It could be that Jin-Roh: The Wolf Brigade (人狼, 1999) is one of the most underrated anime offerings of all – a situation no one into the more adult leanings of the medium should ascribe to since there’s tons of action and sizable armaments involved.

Kiddie stuff this most certainly is not, and with equally big gun anime production houses Production I.G and Bandai Visual working together here (along with one Mamoru Oshii), there was never any real doubt about the grown-up nature of this material or the quality of the animation.

Down in Australia there’s a very nice edition available through the cool cats at Madman Entertainment.

Add to the guns and action a tall, dark, silent-type protagonist, a mysterious terrorist organization femme fatale, government-condoned death squads, post-modern German WW2 helmets, gasmasks, full-on body armour, and – hidden amidst all this – some overt references to the Little Red Riding Hood fairy tale.

Penned by Mamoru Oshii (Ghost In The Shell, Sky Crawlers), as part of his Kerberos saga, the alternate reality late ‘50s story underpins Oshii’s earlier live-action film Stray Dog (1991) – a movie which starred actor Yoshikatsu Fujiki, and who here returns to voice our hero Kazuki Fuse.

Fujiki also starred in Oshii’s more recent live-action movie Assault Girls (2009), and his presence is all the more reason that you should watch the movie in the original Japanese dub (with English subtitles) rather than opting for the easy-listening local lingo.


The depth of talent involved in the production is something guaranteed to rock the socks off any anime admirer.

Kenji Kamiyama (later the director of Ghost in the Shell: Stand Alone Complex) worked as sequence/animation director, the character designs (based on director Hiroyuki Okiura’s originals) were embellished on by Tetsuya Nishio (a key animator on Millennium Actress and FLCL) and the superb music is composed by Hajime Mizoguchi – one of Japan’s leading musicians in the ‘80s, and Yoko Kanno’s ex-hubbie; Kanno herself moonlights as the pianist here.

Many people are still waiting for the director, Okiura, to helm his next movie.

He was just 33 when Jin-Roh was released, yet while he’s also worked on key animation and character designs for Akira, Ghost in the Shell, Blood: The Last Vampire, Patlabor 2, Ghost in the Shell 2: Innocence and Magnetic Rose, the shame is that the man hasn’t offered up another movie in over a decade.

When that does happen I probably won't be the first to report on it – there are rumours afoot – but in the meantime back-tracking to his 1999 singular classic is well worth the ride.

“Jin-Roh is one of the most stunning movies I’ve ever experienced, period,” says independent film-maker Toshiaki Yamashite. “Each time I watch it I walk away with more. It’s a work of genius.”

Amidst all the angst and bullets it’s a typical Oshii-style yarn: mind-boggling and ultimately mind-blowing stuff, with Fuse himself striking a note as anime’s most elusive male lead.




Jin-Roh: The Wolf Brigade
© 1999 Mamoru Oshii / BANDAI VISUAL / Production I.G All Rights Reserved

Flower Power 花見-style!

Every spring in Japan, the hanami (花見) – literally “flower viewing” – is a cultural necessity, and it just so happens to be a (sake) barrel of fun as well for those able to get time off work and indulge in some good spirit(s).

While this year's version hasn't really been anything to write about, at least in Tokyo (the weather's been all over the place), usually in March or April - depending upon when precisely the nation’s fabulous cherry blossoms (sakura 桜) decide to unfurl - millions of people unfurl their own blankets in crammed public spaces... ostensibly there to watch the delicate, snow-like shower of flowers, but also to catch up with friends, impress the boss, drink vast quantities of sake, carouse, get drunk, sing, and be raucous in exceptionally unJapanese ways.

These parties often stretch from daytime into the night (when the name is changed to yozakura), and lanterns hung up to drink by and warble prolific.

Needless to say I love it, but regardless set out to uncover just why the custom is so darned popular in the hearts and minds of young Japanese creative types some 1,300 years after it’s said to have kick-started during the Nara Period.


NAOYOSHI SHIOTANI
(Director of Tokyo Marble Chocolate, character designer and unit director on Oblivion Island, as well as key animator on Mamoru Oshii's Sky Crawlers and an in-between animator on Hayao Miyazaki's Spirited Away):
“We Japanese enjoy the different feelings and peculiarities of each and every season.
In spring, we have fun under full-blossomed cherry trees, eating and drinking and romping around with our friends. And the sake you drink, surrounded by pink cherry petals dancing in the air, is somehow tastier than usual. In Japanese, we have even coined the word, hanamizake – which refers to the sake you sip under the cherry trees. Then, of course, you need to be careful not to quaff too much booze...”


TATSUYA OE
(Highly-regarded DJ-around-Tokyo who also makes music under aliases like Captain Funk and OE):

“I'm not specialist about hanami, but I think it’s interesting and so symbolic, and a typical way for Japanese to behave – it’s like a small initiation into Japanese society, especially for people just starting out in companies.
“There are much more important (hidden) elements than seeing (mi) the blossoms (hana) themselves.
“There are also some vital things for any hanami party organizer to consider: (a) deciding who to invite; (b) adjusting schedules of participants; (c) claiming a decent space to actually see the blossoms; (d) preparing sheets, drinks, blankets, karaoke machines, and so on – while ensuring that the boss’s favorite songs are loaded into the karaoke machine; (e) getting everyone together; (f) making sure people who drink too much don’t get into fights, go hunting, or generally kill themselves.
“After that there’s the big clean-up, an assurance to the boss that you’re one very smart and reliable person, and follow-up calls and emails (Otsukare samadesita!).
“Perhaps a good hanami organizer should become a good worker in Japanese society – though it must seem weird to people coming from overseas…
“So, needless to say, I’m not talented enough to organize hanami parties!”


KOU MATSUO
(Director of the Gonzo anime Red Garden):
“My understanding is that hanami is an event that marks a new start for everyone – a new school year, newcomers joining companies, and so on. A lot of people use hanami as a sort of bonding ceremony to welcome freshmen, by making it a big drinking party. I guess that’s because there are many people who cannot bring themselves to open up to others, unless they are spoon-fed the opportunities.
“Personally, I try to take advantage of seasonal events – not only hanami, but other annual events too – as they can provide a punctuation mark to daily life. At the same time, however, I try not to be dependent on them.
“One thing is for sure, though... there’s nothing like sipping sake under cherry blossoms, no matter how cold the weather is. Honestly!”


ASAE ONISHI
(Actress in 1 Liter of Tears, Beauty):


“Seeing the cherry blossoms, which mark the beginning of spring, makes me happy.
Sake, food, family, friends… It’s good to get to know each other through the hanami party. When I go to hanami, I feel as if... I wish I could stop time.”


HIROYUKI MORITA
(Director of the anime series Bokurano as well as the Studio Ghibli feature The Cat Returns):
“Cherry trees shed their leaves during the winter, and bloom in springtime, before early summer comes and the leaves begin to sprout anew. Trees that bloom amidst leaves aren’t that uncommon, but in the case of cherry trees, the blossoms dominate the whole leafless tree.
“The sight of a cherry tree in full bloom is such a unique spectacle, and just sitting underneath it makes you feel like you’ve wondered into some ethereal world. It makes you want to spend that special time with your loved ones. I think that the hanami season provokes that kind of sentiment in all Japanese people.”


NAOTO YAMAZAKI
(DJ/musician better known in Japan as Naotoxin):
“Hanami makes me happy, because spring is my favorite season. We get to enjoy good food and sake and, of course, watch the cherry blossoms. Then I really begin to realize that I’m glad to have been born in Japan. Hanami gives us a great chance to think about how beautiful spring is!”


FUMINORI KIZAKI
(The director of anime outings Afro Samurai and Basilisk):
The hanami season coincides with the end and beginning of the school year in Japan, meaning that it is the time of year that graduation and entrance ceremonies are held, or when many people, including new graduates, start new jobs. So, it is the season of parting with old friends, and also meeting new ones.
“Enjoying the beautiful blossoms and the shower of their petals while drinking sake is an activity that makes you realize the Japanese sense of aestheticism, but it is also a very emotional season too, and the beautiful cherry blossoms can have a therapeutic effect in those cases. But since I am not a party-goer, I personally do not enjoy rowdy hanami parties that much...
“There was a rocket-powered kamikaze aircraft, or a manned cruise missile, named ‘Ohka’ (meaning cherry blossom) that was employed by Japan during WWII, and so the ephemeral image of cherry blossoms that begin to shed their petals as soon as they come to full bloom sometimes reminds me of the young souls that died in battle.
Although I’ve never really thought of it this way, I think the cherry blossom season is a very important time of the year for the Japanese people that has been imprinted in our hearts since our childhood.”



TAKA KATO
(Animator responsible for the iconic Honeinu-kun):
“Well, I think the most important thing is not sake, nor food, and not even the cherry blossoms themselves!
“The most important thing is friends. We plan hanami parties to meet together and talk in a completely unusual situation, in the evening, outside! It’s kind of exciting.
“Oh, and the second most important thing for hanami is a coat – you know, an early April night outside can be very cold!”


TOSHIYUKI YASUDA
(Musician, DJ, Megadolly label boss, former member of Fantastic Plastic Machine - and the man behind Robo*Brazileira):
“Hanami is a good excuse to drink with new and old friends. The immediacy and intransient nature of the cherry blossoms also make people think about relationships and ourselves...
“Especially in my case, as it’s my birthday around the same time!”


MANABU ONO
(Director of the anime series Dragonaut)
“We often go for a hanami party with the members of our studio. I always hope to go for a hanami again with the staff of the shows!”

Let's hope he enjoyed this year's comparatively lackluster season - which still was fun despite the travails of global warping.

SPOTLIGHT: Linebarrels of Iron

Ahhh, Linebarrels of Iron!

Back in 2008, for Anime Insider mag, I interviewed series producer Hiroyuki Birukawa and director Masamitsu Hidaka about the title; since that mag's now defunct, I'm guessing there's no problem sharing it here since FUNimation over in the US this month released the DVD box-set of the first 12 episodes.

Ask veteran Pokémon director, Hidaka, about his involvement helming the Gonzo series, Linebarrels of Iron (鉄のラインバレル, Kurogane no Rainbareru) and his response comes across as excited as it is free-wheeling.

“The story within the original comic consisted of exciting battle scenes and the fascinating stories of each character,” he explains. “So, I’ve placed a special value on those points when creating the animation version. I’m always trying to work out how I can showcase the cool and coquettish mecha battle scenes - both by employing a sharp sense of speed and presence, and by including contemplative action scenes in the animation. And while I’m aiming high for the twin ideals of beautiful and cool, it’s still, beneath it all, cute mecha-anime! I just hope you enjoy it, and that it’s fun for fans to watch.”


In most celluloid productions it’s the director who dreams, creates the art, and has his head in the clouds. The producer is the grounded financier who stabilizes the ship, handles the organizational side of things, and sees the big picture a little clearer. They’re often also the people who see the production through - from a scrap of note-paper to the screen version.

So it seems with Linebarrels of Iron series producer, Hiroyuki Birukawa, who has been with this particular anime title since Day One.

“I know the chief editor of the monthly magazine, Champion Red, published by Akita Shoten here in Japan,” Birukawa informs me.

“He and I have known each other for quite a long time, and one day he showed me the latest manga they did - and it was Linebarrels of Iron. The moment I saw that sample comic, I knew that this was something I wanted to create as an animation, and asked them for the rights to create it.”

Birukawa previously dabbled with another famous Gonzo production, Last Exile, and is quite clearly the man to talk to when you want a concise explanation of the storyline behind the studio’s new series.

“The main character, Kouichi Hayase, was an ordinary kid in high school, who was constantly teased but had a dream of someday becoming a hero,” recounts Birukawa, with the heroic patience of a man perhaps used to dealing with less focused types.

“The first cool point of this anime may be how this character develops through many events, including a parting with good friends, to become a true hero. The second cool point is the mecha action. As you may have seen in the past, all 3D robot-action scenes always had a rectilinear movement, which was quite unreal. The director, Hidaka-san, and I have talked about this quite extensively - and we’ve gone back to how 2D robot-action scenes were shown, in order to include that point within our 3D robot-action scenes for Linebarrels of Iron.”


Birukawa’s fascinating lesson, which threatens to put this writer out of a job, is far from over. He has more about the new series that he’s keen to share - and enlighten us with along the way.

“If you’ve seen the series trailer, Linebarrel strikes a particular pose, before stabbing ARMA, the enemy robot. It’s like kabuki, wherein you adopt one pose before you give it movement.

"We actually call it tame in Japanese. We believe tame and kire - fast action moves after tame - are the most important points when showing cool mecha action. And Hidaka is a pro at robot action.

“Also luckily for the 3D action scenes, we have Itano-san [Ichiro Itano, the director of Blassreiter and veteran planner of The Super Dimension Fortress Macross], who is fantastic at checking these kind of scenes and translating them into action.”

Adding to the superlative mecha developments is the teamwork involved in the series structure, scripts, and ideas.

“The creative producer, Goro Taniguchi, has so many excellent ideas about the animation he wants to include, while Kiyoko Yoshimura is fantastic at including these, as well as expressing character descriptions in the story.”

Despite his professional nature and assured eye on the whole production, you can almost see Birukawa blush when it comes to talking up his favourite character in the series.

“It’s Emi Kizaki,” he admits. “She is cute, sexy, and also smart! There’s a Japanese slang word, tsundere [meaning a volatile personality that ends up being good-willed] and she has that perfect tsundere factor...”



© 2008 Eiichi Shimizu,Tomohiro Shimoguchi, Akita Publishing/GONZO/Linebarrel Partners

Yoji Yamada's Younger Brother

So, there's a new movie coming out at the end of this month from Yoji Yamada (山田 洋次), the Japanese director best known for Tora-san - he helmed 46 of the 48 Tora-san movies that popped up between 1969 and 1995, the year before lead actor Kiyoshi Atsumi's death.

In 1993 Yamada also directed A Class to Remember (学校, Gakko), the winner of best film and best director at the Japan Academy Prize the following year.

Personally I was pretty swayed by this director's 2002 outing The Twilight Samurai (たそがれ清兵衛, Tasogare Seibei), and not only for Hiroyuki Sanada's performance and Isao Tomita's soundtrack - it also won 12 Japanese Academy Awards including Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay.


The new movie, Otôto (Younger Brother), stars Yu Aoi (the voice of Shiro in the cool anime Tekkonkinkreet), Ryo Case (Letters from Iwo Jima), and comedian Tsurube Shôfukutei - whom I previously met (alongside about a dozen MP extras he likely doesn't remember) on the set of I Want to Be a Shellfish.

Find out more at the official website. In the meantime, here's the preview for the movie.

REVIEW: Legend Of 8 Samurai (1983)

If you’ve seen Hideo Nakata’s Ring series or the Tom Cruise vehicle The Last Samurai, chances are you would’ve been impressed by actor Hiroyuki Sanada – he played the estranged yet enigmatic husband of Ring heroine Nanako Matsushima, and easily outshone Cruise in the latter.

Sanada also put in revelatory work as the lead in Yoji Yamada’s Twilight Samurai (2002) and sparkled as the bad-arse wizard-villain Douson in Onmiyoji (The Yin Yang Master, 2001).

Since these inroads he’s been variously wasted in the Wachowski brothers’ Speed Racer (2008), played the mandatory criminal element in Rush Hour 3 (2007), and was one of the best elements as the ship’s captain in Sunshine (2007), Danny Boyle’s relatively unnecessary retake on Event Horizon.

Fancy, then, checking out Sanada in hot pants, back in the ‘80s when he was a rising, hot-blooded 23-year-old warrior blade in Satomi Hakken-den (Legend of Eight Samurai, 1983)?

Funnily enough I didn’t find this movie here in Japan – I stumbled across it in a $2 bin in New York’s Chinatown back in 2004. All of the Japanese people I’ve shown the cover to, and occasionally deigned fit to screen the DVD before, have never encountered this truly hidden gem.

The truth is that we could’ve done without those bare-skinned pins too, but Sanada – who’d already cut his teeth as a child actor by 1983 – holds up well in spite of his kitsch attire (which includes a string disco body-top underneath armour) and bouffant hair that’s contested only by the female lead, Hiroko Yakushimaru, as Princess Shizu.

Incidentally, Yakushimaru herself (now 45) resurfaced four years ago in Seijun Suzuki’s whimsical musical Operetta Tanuki Goten (Princess Raccoon, 2005), alongside Chinese starlet Ziyi Zhang and Joe Odagiri (Azumi); since then the actress featured in Takashi Yamazaki’s Always - Sunset on Third Street series.

Also starring here, as the leader of the legendary eight samurai (erroneously called ‘ninja’ in the English dub and brought together by fate to defend the princess) is Shinichi “Sonny” Chiba.

Otherwise known as the sushi chef and grand master sword-smith in Kill Bill: Vol. 1 (2003), Chiba has been a rip-roaring actor and fight coordinator in an array of Japanese and Hong Kong action movies - with titles like G.I. Samurai, The Bloody Bushido Blade, Karate Bear Fighter, The Street Fighter, The Bodyguard, and Vigilante In The Funky Hat: 200,000 Yen Arm - over the past 40 years.

Here he goes all patriarchal and plays the Jedi-like philosophical sage (with a fatal illness) who brings together the key heroes – but turns out to be patronizing, flawed and judgmental, and the kind of guy you’d really wouldn’t want to be your dad; Alec Guinness he most certainly is not.

The story here revolves around a century-old curse for revenge by the Hikita clan, which was destroyed a hundred years ago by the righteous Satomi clan.

Involved in said revenge are a fitful of prophecies, a spin on 'Beauty & The Beast', an Oedipal sub-plot, reincarnation, birthmarks, redemption, giant centipedes and snakes, guys wearing more makeup than girls, poison breath, Chinese Confucianism, Japanese bushido ethics, Buddhist philosophy, etc, etc...

Remember, this is an ‘80s movie, so there’re myriad blue backdrops and pastel colours, and a musical score of soft-rock and desultory synths. Joey Carbone, who worked on the cheesy soundtrack, went on to make the theme music for the classic anime series Project A-ko. On the DVD cover itself, the publishing company (Front Row Entertainment) claims that this version has a “digitally remastered superior picture and sound quality”, so I’d hate to see the original version.

Regardless, the whole caboodle is directed by the late Kinji Fukasaku – who directed a lot of those ‘70s yakuza gangster flicks, often starring Sonny Chiba, that were such a big influence on contemporary directors like Quentin Tarantino and Takashi Miike. He also more recently helmed the sublime Battle Royale.

And somehow – somehow - it works.

Actress/singer Mari Natsuki (as the saucy, evil Hikita matriarch Tamazusa, who indulges in blood-baths, much erotic pouting on screen, and apparently shocked local audiences at the time with her full-frontal nudity) is a revelation of superb over-acting.

As it turns out, she worked on a ton of the more homogenized 'Tora-san' comedies over the years – then voiced the sinister witch Yubaba in Hayao Miyazaki’s anime classic Sen to Chihiro no Kamikakushi (Spirited Away, 2001) and popped up as a mum in Mika Ninagawa’s Sakuran (2006).