[ Directed by ]
[ Produced by ]
• YOSHIMURA Tomomi
• MORI Kyouichi
[ Cast ]
• KIMURA Tae
• KUBOZUKA Yosuke
• FUKUSHI Seiji
[ Staff ]
• Screenplay: AIZAWA Tomoko
• Cinematography: ASHIZAWA Akiko
• Lighting Designer: ICHIKAWA Tokuju
• Production Designer: KANAKATSU Hirokazu
• Set Decorator: YOSHIMURA Shogo
• Sound Designer: TAKIZAWA Osamu
• Costume Designer: KATSUMATA Junko
• Editor: FUSHIMA Shinichi
• Music: OTOMO Yoshihide
• Sound Effect: KITADA Masaya
• General Entertainment Development
• U’s Film Development
• Executive Producers:UNO Yasuhide
• Executive Producers: MORI Kyouichi
• Executive Producers: ITO Yoshiaki
• Executive Producers: MIYAZAKI Tadashi
• Executive Producers: KITANO Hiroaki
• Producer: SUZUKI Ritsuko
• Original Story: KIRINO Natsuo
[ Production Company ]
[ Distributor (Japan) ]
[ Production Studio ]
General Entertainment, U’s Film
Release Date: August 28, 2010
Running Time: 129 min
Screening Format: 35mm,Digital Betacam
Screen Size: American Vista (1:1.85)
Sound Processing: Dolby SR
Subtitle: English, (Digital Betacam)
[ Story ]
Based on the bestselling novel from Naoki Prize-winning novelist Kirino Natsuo. Directing the film is Shinozaki Makoto, winner of the Wolfgang Staudte Award at the Berlin International Film Festival with his directorial debut
(Okaeri). Kimura Tae of
All Around Us
(Gururi no Koto) gives a powerful performance playing Kiyoko, a woman who must use her instincts to survive as she is stranded on an island. Housewife Kiyoko (Kimura) and her husband Takashi (Tsurumi Shingo) are washed ashore on a deserted island. Later 16 Japanese men and 6 Chinese men arrive, and Kyoko is now the only woman on the island with 23 men. A peculiar communal life begins.
[ Official Site ]
This film has a long history behind it and it might be worth to tell it because after all it’s more interesting than the film itself (the reconstruction of the story is mainly about Mark Schilling, in an article in the Japan Times and an interview related to Maeda Michiko).
At the end of World War II Kazuko Higa, a woman of Okinawa, she lived with her husband in a deserted island of Anatahan, in the Marianas group. Following the sinking of a Japanese ship, thirty castaways landed on the island. After the war, people did not accept the defeat and the subsequent return home and continued to live on the island. Over the course of about six years, the woman as a kind of queen bee, survived by electing from time to time on one of the men as her mate, while the contenders were fighting with each other sometimes at the cost of life (something like six victims more husband). In 1950, finally, the woman managed to escape on an American ship. A year later, nineteen survivors left the island permanently. Become known, the story caused a sensation: the American magazine Life he dedicated a long article in July of 1951 and in 1953 came a novel by Maruyama Michiro inspired to the facts of the island which was immediately translated in the United States.
The article in Life aroused the curiosity of Josef von Sternberg, who made a film based on the novel and which was entitled Anatahan. Funded by two Japanese producers and studio shot in Kyoto with Japanese actors, the film was a resounding fiasco both in Japan and in America and like its director, took over time aura film “cursed.” Even today it is difficult to see, the only on DVD edition is a French version of “unauthorized” and cut some nudity.
Despite the failure, the story continued to be intriguing and in 1956 Shimura Toshio realized for Shintoho Onna Shinju ō no Fukushu (Revenge of the Pearl Queen), a thriller inspired by the story and interpreted by perturbing Michiko Maeda, who with the movie passed in history for the first nude of Japanese cinema.
In 2009 Natsuo Kirino has resumed once again the theme by recreating the story in his own way in an imaginary island called Tokyo and now Shinozaki Makoto brought the novel to the screen. I have not read the novel but the Kirino chosen by Shinozaki approach is the black comedy, with some excursions into grotesque and many slipping into banality. It could probably point out that the focus of the narrative moves, compared to previous films on this story, by sexual battle misery of human failings, but the fact remains that the film is not at all successful and drags on until the end without fail to be addictive. Wasted opportunity.
Tae Kimura is good to hold the part but paradoxically it was the most fascinating part of the depressed woman Gururi no Koto (All Around Us).