The Ear Cleaner (Mimi wo kaku onna,耳をかく女)
Wood Job! (WOOD JOB! 神去なあなあ日常)

Hero show (ヒーローThe Hero Show)

Hero show (ヒーローThe Hero Show)

Directed by: Izutsu Kazuyuki
Story and Screenplay
・Izutsu Kazuyuki
・Yoshida Yasuhirou
・Habara Daisuke
・Fukutoku Shuusuke
・Junpei Goto
・Abe Ryouhei
Running Time: 134 min.
Released Date: 29 May 2010

[Official Site]

I happened to see Hero show of Izutsu Kazuyuki a few days away from Kokuhaku (Confessions) of Nakashima Tetsuya. The two works are certainly not comparable but both treat somewhat of contemporary Japanese youth, although belonging to age groups and environments diversi.Nonostante Kokuhaku is stylistically more beautiful to look at, even beyond the big names who play there, the vision of Hero show I have stayed with me more ‘long. There is a work on the characters, a dig and a development that tells us a lot more than many sociological studies on contemporary Japan, a portrait that even for those who live in Japan for several years like myself, thought-provoking and illuminates for “truth “and I do forgive the use of such a banal term. The film is the story of a group of boys without a specific use that to make ends meet, personify the various pseudo-show Sunday events for children and families, the heroes of popular TV series Style Power Ranger and derivatives. But it happens that the rivalries and revenge game between two of these, in a pattern that is also well-known in these parts made of “call my brother” “I call my friends”, you magnify up to go out of control. The spiral of violence is all the more brutal and bare because it reveals the inner smallness and the value system that supports all the protagonists. When the heads are split as if by victim and perpetrator emits any venom and meanness that animates them and guides their lives. In the end what persists and that stands out in the vision of Hero show is the slap in the face of moral and ethical inadequacy of all the protagonists, yes product of a social condition disaster but especially an inability to rebel against this state of affairs. The film thus indicating responsibilities also to the individual, the mantra, and seen a lot stravisto in film and literature, of a Japan that ruined his children shows her the ropes, it’s time that the subjectivity begin to get busy and do the own choices. Pity about the ending a little bit trivial and silly when one of the two main characters back in the home country to parents kiosk with Mount Fuji in the background, although it could perhaps be interpreted as the guidance to live their lives in a simple maybe even in banality of everyday life. Unlike the title, this work of Izutsu is almost anti-spectacular, nothing special effects, but a lot of irons in the fire to think about. To praise the work done by the director with / on the actors, especially the protagonists Fukutoku Shuusuke and Goto Junpei , established television comedians (the Jarujaru duo) in the film can more convincingly that change completely, a ‘immersion in the characters it deserves really applaud. A special mention also goes to the masterful performance Abe Ryouhei (already ‘seen in Crows Zero ) as Onimaru, the most evil of all, the whole physical performance, looks, grins and sees in violence the only way to realization, somehow sad moral of the film.
[Katsuyuki Nakanishi]

Katsuyuki Nakanishi
Born on 1984 in Nagoya City, Aichi Prefecture. Graduated in Vantan Film and Movie Institute major in film director. The fourth graduate of JSC Cinematographers assistant upbringing cramming school. While he was studying in Tokyo, he was also working with Director Shinya Tsukamoto's movie at the same time. After that, he became part of the lighting department of Toei Studios Kyoto, studied under Kiyoto Ando and Takashi Sugimoto. In these movies, he worked as an assistant lighting director with Takashi Sugimoto in "Chacha - Tengai no Onna"(2007) and Kiyoto Ando in "The Fallen Angel"(2010). He work as a freelancer since 2011 and became part of these latest movies as a lighting director of Director Yang Ik-June's ”Shibata and Nagao"(2012), Director Keisuke Yoshida’s ”Himeanile”(2016), Director Kohki Yoshida’s ”ThreeLights"(2017), Director Hiroshi Ando’s ”Moon and Thunder" (2017) and Director Shinya Tsukamoto’s ”Killing” (2018).

Leave a Reply

Your email address will not be published. Required fields are marked *