砂の塔 / THE YELLOW MONKEY
2017年1月13日
Aladdin
2017年1月17日

We Shall Overcome Someday (Pacchigi! パッチギ!)

http://amzn.to/2f44k2i

[Staff]
Director : Kazuyuki Izutsu
Subject : from a Naruyama Takeshi novel
Screenplay : Habara Daisuke, Kazuyuki Izutsu
Photography : Hideo Yamamoto
Set Design : Katsumi Kaneda
Mounting : Nobuko Tomita
Music : Kazuhiko Kato
[Cast]
・Shioya Shin
・Sousuke Takaoka
・Sawajiri Erika
・Kyoko Matsunaga
・Hiroyuki Onoue
・Odagiri Joe
Running Time: 118 mins
Release Date: January 22, 2005

Score ★★★☆☆ 3/5

Kyoto 1968, some Japanese students stop and provoke street two North Korean girls. One of them runs for help to his countrymen, who attend with them a private school, located nearby.
They come in dozens, ready to hunt down the culprits. He discovered one of the managers of the incident, which took refuge in a bus, surrounding the vehicle, lift it, and overthrow the street. This is the scene almost bombastic initial Pacchigi !,film directed by one of the brightest ‘commercial authors’ of contemporary Japanese cinema, Izutsu Kazuyuki (of which we should mention at least Kishiwada shonen gurentai , 1996). We are obviously from the parts of the Japanese cinema cha looks at patterns of action movies made in Hong Kong . Maybe a little ‘less violent, at least in the use of the details, but just as spectacular choreographed plan. Pacchigi! , However, is not limited to this, and staged with a certain intelligence and vivacity, the relationship between Japanese and Korean – specifically North Koreans, that also introduces a certain political-ideological dimension – by binding to a thematic tradition that has enjoyed some attention in the Japanese cinema of recent years – we think even to Go to Yukisada Isao (2001) and Chi to hone ( Blood and Bone, 2004 ) Sai Yoichi, 2004 -. The Japan’s historical responsibility in relation to Korea – the country which in fact has been a colony of the Empire of the Rising Sun, from the early twentieth century until the end of the Second World War – are explicitly reported, although the film wants above all to be a reconstruction the cultural climate of the Japanese youth in the late sixties. There is the fashion of the Beatles, some students cut their hair bobbed, hoping to have better luck with the opposite sex; There are echoes of the Beat generation, especially through the character a bit ” frikettone ‘played by a young Joe Odagiri; There are ideological myths, among them those of Mao and the Cultural Revolution, spread by a rather clumsy teacher who, in the final image of the film, we will see reduced to distribute porn local advertising leaflets. And most of all there are two intersecting love stories, one of which gives the film a distinct touch to Romeo and Juliet , or if you prefer to West Side Story , whose positive epilogue, ends up confer a prospect rather feel-good – but also somewhat sweetened – the relationship between the Japanese and immigrants (north) Koreans. That does not detract from the harshness of certain moments, like the one in which the young Kosuke – which translated into Japanese a famous song North Korean, The Imjin River – is kicked out bad words, and not entirely without reason, since funeral of a North Korean student. Essentially a film that in certain limitsenterteinment exhibits, along with a recognized potential directing and staging of its author, even a look at times attentive to a certain age and a certain social dimension

mm
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).

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