11 / 122 The Complete (Existing) Films of Sadao Yamanaka
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11 / 122 The Complete (Existing) Films of Sadao Yamanaka
The Complete (Existing) Films of Sadao Yamanaka
The brief but prodigious career of Japanese director Sadao Yamanaka resulted in a catalogue of work characterised by an elegant and unforced visual style, fluid editing, and a beautiful attention to naturalistic performances. Although he made 22 films over a six-year period (before dying of dysentery in a Japanese Imperial Army outpost in Manchuria at the age of 28), only three of them survive, collected here for the first time in the West.
Tange Sazen: The Million Ryō Pot is a gloriously comic adventure yarn as the titular one-eyed, one-armed swordsman becomes embroiled in the hunt for a missing pot that points the way to hidden treasure. In Kōchiyama Sōshun, a subversively humanistic adaptation of a classic kabuki play, a small but invaluable knife stolen from a samurai leads to a chain of an increasingly complex and troublesome set of circumstances. His last film, Humanity and Paper Balloons, is an unsparing ensemble drama set among the lowest rungs of Japanese society in the 18th century.
The Masters of Cinema Series is delighted to present these treasures of world cinema in a long-awaited two-disc DVD set, including rarely-seen fragments of two other lost Yamanaka films.
SPECIAL FEATURES
• New progressive transfers of all three feature films
• Newly translated optional English subtitles
• A special extended scene for Tange Sazen: The Million Ryô Pot
• Surviving fragments of two other lost Yamanaka films: Genta of the Shore: The Longsword of Dakine and The White-Hooded Thief
• New and exclusive video piece featuring critic and scholar Tony Rayns discussing Yamanaka's work
• A 44-PAGE BOOKLET containing writing by Yamanaka, Shinji Aoyama, and Kimitoshi Satô, alongside a newly revised essay on Yamanaka by Tony Rayns and rare archival imagery.
The brief but prodigious career of Japanese director Sadao Yamanaka resulted in a catalogue of work characterised by an elegant and unforced visual style, fluid editing, and a beautiful attention to naturalistic performances. Although he made 22 films over a six-year period (before dying of dysentery in a Japanese Imperial Army outpost in Manchuria at the age of 28), only three of them survive, collected here for the first time in the West.
Tange Sazen: The Million Ryō Pot is a gloriously comic adventure yarn as the titular one-eyed, one-armed swordsman becomes embroiled in the hunt for a missing pot that points the way to hidden treasure. In Kōchiyama Sōshun, a subversively humanistic adaptation of a classic kabuki play, a small but invaluable knife stolen from a samurai leads to a chain of an increasingly complex and troublesome set of circumstances. His last film, Humanity and Paper Balloons, is an unsparing ensemble drama set among the lowest rungs of Japanese society in the 18th century.
The Masters of Cinema Series is delighted to present these treasures of world cinema in a long-awaited two-disc DVD set, including rarely-seen fragments of two other lost Yamanaka films.
SPECIAL FEATURES
• New progressive transfers of all three feature films
• Newly translated optional English subtitles
• A special extended scene for Tange Sazen: The Million Ryô Pot
• Surviving fragments of two other lost Yamanaka films: Genta of the Shore: The Longsword of Dakine and The White-Hooded Thief
• New and exclusive video piece featuring critic and scholar Tony Rayns discussing Yamanaka's work
• A 44-PAGE BOOKLET containing writing by Yamanaka, Shinji Aoyama, and Kimitoshi Satô, alongside a newly revised essay on Yamanaka by Tony Rayns and rare archival imagery.
- Michael Kerpan
- Spelling Bee Champeen
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One can only hope that several more Yamanaka films will turn up in the Abe film collection -- now the property of the Japanese government foillowing the death of the last family member. (My recollection is that he directed about 25 films in all).
All three films that are known to survive (currently) are wonderful -- but this last Yamanaka film is probably the most accomplished of all.
Th masterless samurai here does not actually spend his time "looking for work". Rather he is looking for a master -- and has a letter of introduction to an urban samurai (whoseems like a precursor to a yakuza boss). This boss apparently would be obliged to accept Matajuro as a retainer (due to some sort of clan responsibilities?) -- if he actually looked at the letter -- so he refuses to accept it, becoming progressively more brutal in his rebuffs. Matajuro doesn't seem to be able to imagine any other course of work -- and perhaps none would have been available. (Why don't he and his wife return home -- perhaps it would be too shameful to acknowledge that the boss rejected the letter of introduction).
BTW, Matajuro (and his far more principled and virtuous wife) find a recent echo in Kitano's "Zatoichi".
MEK
All three films that are known to survive (currently) are wonderful -- but this last Yamanaka film is probably the most accomplished of all.
Th masterless samurai here does not actually spend his time "looking for work". Rather he is looking for a master -- and has a letter of introduction to an urban samurai (whoseems like a precursor to a yakuza boss). This boss apparently would be obliged to accept Matajuro as a retainer (due to some sort of clan responsibilities?) -- if he actually looked at the letter -- so he refuses to accept it, becoming progressively more brutal in his rebuffs. Matajuro doesn't seem to be able to imagine any other course of work -- and perhaps none would have been available. (Why don't he and his wife return home -- perhaps it would be too shameful to acknowledge that the boss rejected the letter of introduction).
BTW, Matajuro (and his far more principled and virtuous wife) find a recent echo in Kitano's "Zatoichi".
MEK
- Pinback
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I rewatched Nagisa Oshima's superb 100 Years of Japanese Cinema last night. Oshima gives this film substantial attention, and attaches a poignant significance to it. The documentary recounts (as the MoC description does) how Yamanaka was drafted into service just after completing the film, but adds a touching shot of a photograph taken when Sgt. Ozu visited him shortly before his death. Even without the sentimentality of the details of Yamanaka's death, Humanity and Paper Balloons looks to be a profound masterpiece. From the clips shown, the film looked in pretty good condition, and I'm sure we can expect a flawless transfer on the DVD.
- godardslave
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- Pinback
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Not that I know of. I had to get it on VHS (PAL...I'm in England). The BFI released a series of videos a while back representing their Century of Cinema series. The Korean documentary is also on the tape. The only entry in the Century of Cinema series the BFI have released on DVD is, predictably, the history of American Cinema by Martin Scorsese.godardslave wrote:is this on DVD?Pinback wrote:I rewatched Nagisa Oshima's superb 100 Years of Japanese Cinema last night.
- Lino
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Yes, it is. It's on the 4th disc of this set. I don't have it so I cannot say much more than that.godardslave wrote:is this on DVD?Pinback wrote:I rewatched Nagisa Oshima's superb 100 Years of Japanese Cinema last night.
No sir, no attempt to ape Criterion's style with that cover art.Annie Mall wrote:Yes, it is. It's on the 4th disc of this set. I don't have it so I cannot say much more than that.
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- Michael Kerpan
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- What A Disgrace
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- Steven H
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I don't think this is worth starting a new thread for, but I watched Yamanaka's Pot Worth a Million Ryo (twice in a day already) and I'm so excited about it. Entertaining from beginning to end (very much in a Clair way, which I think was also the inspiration for the story (Le Million) if it's not a remake), gorgeous visually, great music, and hilarious. I was expecting a lot and got something much more modern and creative than I bargained for, including a supremely grin inducing ending. I would easily rate this as one of the great films of Japan and the 30s internationally. There's a sense of humor in the editing and rhythm itself in this film that few directors can muster. The framing seems to point to Ozu (though the camera is much more active), but there's something of early Hollywood in it as well. There really isn't much to "explain" except that it's a joy to watch.
If you have any doubts about blind buying this MoC release questioning the quality of the film content, just give in. I can't imagine this director going too far off track from brilliant. I have the strong feeling that if Humanity and Paper Balloons is *half* as good as this (though some have intimated it's better) I'll be following this post with another come June singing it's praises.
If you have any doubts about blind buying this MoC release questioning the quality of the film content, just give in. I can't imagine this director going too far off track from brilliant. I have the strong feeling that if Humanity and Paper Balloons is *half* as good as this (though some have intimated it's better) I'll be following this post with another come June singing it's praises.
- Michael Kerpan
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I hope MOC can get the rights to both of Yamanaka's other two surviving films from Nikkatsu.
I agree completely as to the glories of "Pot Worth a Million Ryo". As with Ozu's "Lady and the Beard", this was a film that kept our whole family giggling (when not roaring), despite lack of subtitles. What makes the film even more amazing is the fact that the studio intended this to be a straightforward action-adventure film. But when this was re-assigned to Yamanaka, he completely re-thought and re-made the story. (The underlying story here is probably second only to "Chushingura" in the number of Japanese film treatments -- over 20 other versions, I believe).
I would note that a key scene anticipates an equally key scene in Renoir's "Rules of the Game". I don't think that this film found its way to France -- but one never knows.
"Kochiyama soshun" is equally good -- but far darker. It too involved a radical revision of a prior story -- this time a comparatively light-hearted kabuki adventure play was darkened considerably. It's like the _real_ Robin Hood story, with its original downbeat ending. (and it is, of course, wonderful to see Setsuko Hara at 15 or 16).
"Humanity and Paper Balloons" is indeed even better still. MY birthday is in the third week of June -- I wonder if MOC's DVD will arrive from Bensonsworld in a timely fashion. ;~}
"Pot Worth a Million Ryo" is out on DVD in Japan, as part of a 2 DVD set released by Nikkatsu (which also includes "Kochiyama soshun" and a nice booklet -- only in Japanese, alas). "Pot" is pretty easy to follow despite lack of subs; it took several viewings of "Kochiyama soshun", however, before I could really follow what was going on.
There IS an online synopsis of the kabuki play on which "Kochiyama soshun" is based -- however, Yamanaka altered the story so radically that this doesn't help a whole lot.
MEK
I agree completely as to the glories of "Pot Worth a Million Ryo". As with Ozu's "Lady and the Beard", this was a film that kept our whole family giggling (when not roaring), despite lack of subtitles. What makes the film even more amazing is the fact that the studio intended this to be a straightforward action-adventure film. But when this was re-assigned to Yamanaka, he completely re-thought and re-made the story. (The underlying story here is probably second only to "Chushingura" in the number of Japanese film treatments -- over 20 other versions, I believe).
I would note that a key scene anticipates an equally key scene in Renoir's "Rules of the Game". I don't think that this film found its way to France -- but one never knows.
"Kochiyama soshun" is equally good -- but far darker. It too involved a radical revision of a prior story -- this time a comparatively light-hearted kabuki adventure play was darkened considerably. It's like the _real_ Robin Hood story, with its original downbeat ending. (and it is, of course, wonderful to see Setsuko Hara at 15 or 16).
"Humanity and Paper Balloons" is indeed even better still. MY birthday is in the third week of June -- I wonder if MOC's DVD will arrive from Bensonsworld in a timely fashion. ;~}
"Pot Worth a Million Ryo" is out on DVD in Japan, as part of a 2 DVD set released by Nikkatsu (which also includes "Kochiyama soshun" and a nice booklet -- only in Japanese, alas). "Pot" is pretty easy to follow despite lack of subs; it took several viewings of "Kochiyama soshun", however, before I could really follow what was going on.
There IS an online synopsis of the kabuki play on which "Kochiyama soshun" is based -- however, Yamanaka altered the story so radically that this doesn't help a whole lot.
MEK
- Steven H
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Let's hope. I wonder how well this film could sell? Maybe I'm underestimating the market, but it might be difficult to get people to want to see a film that has had such little exposure in the west. Then again, the MoC brand might carry a lot of weight with it. I'm betting Eureka will advertise the hell out of it (I saw the Teshigaharas "everywhere" (maybe exaggerating a bit) and I live in the US). I'm anxious to get a hold of the booklet, I can't think of any critical appraisals of the film other than the Richie bit in his 100 Year of Japanese History book, and what I read here.Michael Kerpan wrote:I hope MOC can get the rights to both of Yamanaka's other two surviving films from Nikkatsu.
(there might be some small spoilers in this paragraph) Some of the motifs are hilarious (the garbage men, the lucky cat, the arrow game, the goldfish, I could go on). Did you notice how the shot was framed exactly the same in the doorway when the boy is crying over his father and when he leaves with the pot (after the argument)? And when the boy first gets the pot to put his goldfish in the neighbor scoffs authoritively and says something about how it should be used for "rice crackers" I nearly lost it.I agree completely as to the glories of "Pot Worth a Million Ryo". As with Ozu's "Lady and the Beard", this was a film that kept our whole family giggling (when not roaring), despite lack of subtitles. What makes the film even more amazing is the fact that the studio intended this to be a straightforward action-adventure film. But when this was re-assigned to Yamanaka, he completely re-thought and re-made the story. (The underlying story here is probably second only to "Chushingura" in the number of Japanese film treatments -- over 20 other versions, I believe).
I can see the action-adventure angle. The deleted scene (?) on the DVD has a massive well choreographed action sequence that was, rightly, left out of the film. It still seemed to be a parody of such things, as the death throes of the warriors are rather comical. I can't think of the moment in Rules of the Game, but the swipe was used quite a bit in it, and Kurosawa (a big swipe user) I think mentioned he was a fan of this director. Mifune might also had seen this, because the samurai lead character seemed to the the inspiration for much of his onscreen faux bravada and gruffness (thinking of Sanjuro and Seven Samurai especially here).
Hopefully I'll get a chance to see this soon."Kochiyama soshun" is equally good -- but far darker.
- Michael Kerpan
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I would think that any Kurosawa fan ought to be delighted to discover Yamanaka's films.Steven H wrote:Let's hope. I wonder how well this film could sell? Maybe I'm underestimating the market, but it might be difficult to get people to want to see a film that has had such little exposure in the west. Then again, the MoC brand might carry a lot of weight with it. I'm betting Eureka will advertise the hell out of it
We lost it (or nearly so) repeatedly. But especially at the young newlywed samurai's first attempt at archery practice -- and the finale.Steven H wrote:(there might be some small spoilers in this paragraph) Some of the motifs are hilarious (the garbage men, the lucky cat, the arrow game, the goldfish, I could go on).
The little snippets belong to 2 (or 3) of Yamanaka's lost films. Once upon a time, I heard which -- but I've forgotten. They are all that are left of his 20+ other films.Steven H wrote:I can see the action-adventure angle. The deleted scene (?) on the DVD has a massive well choreographed action sequence that was, rightly, left out of the film. It still seemed to be a parody of such things, as the death throes of the warriors are rather comical.
The matching scenes in "Pot" and "Rules" involve optical aids -- and wrong conclusions drawn by people who accidentally see things through said optical aids.Steven H wrote:I can't think of the moment in Rules of the Game, but the swipe was used quite a bit in it, and Kurosawa (a big swipe user) I think mentioned he was a fan of this director. Mifune might also had seen this, because the samurai lead character seemed to the the inspiration for much of his onscreen faux bravada and gruffness (thinking of Sanjuro and Seven Samurai especially here).
I believe Kurosawa started at PCL/Toho while Yamanaka was still there. Certainly, Yamanaka had to have been a major source of inspiration for him. Whether Mifune saw these films himself, or was influenced at second hand (via AK), I don't know.
- Steven H
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On second viewing, I'm pretty sure this is a deleted scene from the film. If features the same main character (Tange Sazen, missing eye and arm), and it takes place on the same set.Michael Kerpan wrote:The little snippets belong to 2 (or 3) of Yamanaka's lost films. Once upon a time, I heard which -- but I've forgotten. They are all that are left of his 20+ other films.
Those interested in Yamanaka might find this eBay listing for a subbed DVD of Tange Sazen and the Million Ryo Pot very interesting. However, due to its questionable legality, I would suggest any continued discussion of it go here.
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