When technical illustrator Tony Takitani asks his wife to resist her all-consuming obsession for designer clothes, the consequences are tragic.

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Against all odds, director Jun Ichikawa has successfully adapted Haruki Murakami for the screen, transforming one of the writer’s lyrical short stories into an equally lyrical film. “Tony Takitani” is as detached and melancholy as its subject, a technical illustrator (Takitani, played with muted sorrow by Issey Ogata) in love with a woman (Rie Miyazawa) whose perfection conceals a spiritual flaw.

Tony is born into isolation, burdened with a roaming jazz musician for a father, a mother who died in childbirth and an unfashionably Western name. A virtuoso at drawing machines but lost when it comes to human beings, he is just sliding into middle age when his hermetic world is breached by the appearance of a wisp named Eiko. She is perfection in form, but as spiritually bereft as Tony. While he dwells on machines, she is compelled to buy “an alarming number of clothes.”

Together, they embody the psychological fallout of Japan’s postwar boom: equal parts technical precision and compulsive materialism. “I’ve never met anyone who inhabits her clothes with such obvious relish as you,” Tony tells his love. She replies that she feels “clothes fill up what’s missing” inside of her. Their respective obsessions form a perfect union until Eiko is consumed by her own consumerism, and Tony finds himself alone again — with a pivotal difference. This time he recognizes his solitude for what it is and aches for what he’s missing.

Directed with economy and an elegant eye, Ichikawa’s visuals resonate beneath their simplicity, with monochromatic backgrounds doubling as expressionistic landscapes. The camera pans from left to right, from scene to scene and time to time, observing Tony through an omniscient voiceover occasionally punctuated by the characters’ own self-narrative.

Ryuichi Sakamoto’s piano soundtrack is equally muted as it underscores the film’s vision of emotional desolation within a free-market heaven. Whether you view it as a metaphor for a country or a singular study of the human condition, “Tony Takitani” explores the borders between solitude and loneliness, hunger and consumption, memory and loss. Ichikawa has made a film that’s more a visual poem than a narrative, and all the more exquisite for it.

— Neva Chonin

Tony.Takitani.2004.WEBRIP.576p.x264.AC3.KJNU.mkv

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Runtime: 	1 h 16 min
Size: 	1.72 GiB
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Aspect ratio:  	1.85:1
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Audio
#1:  	Japanese 2.0ch AC-3 @ 224 kb/s

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https://fikper.com/m5L64Q60WT/Tony.Takitani.2004.WEBRIP.576p.x264.AC3.KJNU.mkv

Language(s):Japanese
Subtitles:English

The post Jun Ichikawa – Tonî Takitani AKA Tony Takitani (2004) first appeared on Cinema of the World.

Seven years ago, a mysterious monster was found deep in a rural coal mine. Since then, rumors of a plague spread through the small town, and people experience an unexplainable mental illness.
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“I want to create a movie that exorcises Tokyo of its possession by the spectre of capitalism.” so goes the introduction* given by director Toshiaki Toyoda to the crowdfunding project for his latest mid-length movie, The Day of Destruction (破壊の日, Hakai no Hi). Set to open on July 24, the day which should have marked the opening of the 2020 Olympic Games had it not been for their postponement, The Day of Destruction returns Toyoda to the disillusioned rage of his early career in a painful wail of protest against an infinitely self-interested society in which there is “a price tag on our lives fluttering in the wind”.

Toyoda opens in black and white with snow falling like ash across the gate of a shuttered mine. City slicker Shinno (Ryuhei Matsuda) has come to see the monster, and he’s brought an envelope of cash for just that purpose, handing it to former miner Teppei (Kiyohiko Shibukawa) now unemployed thanks to the “rumours” of what might be lurking in the darkness. Shinno presses on alone and discovers a pulsating, gelatinous mass at the end of his path but merely laughs, muttering “one hell of a monstrosity has been born, huh?” as he turns around and walks away seemingly unimpressed.

Shifting into colour and the present day, Toyoda pans past the Diamond Princess cruise ship, controversially quarantined for two weeks in Yokohama Harbour, before taking us straight into the city of Tokyo and the Olympic stadium which he then implodes with the “Genriki” spiritual power later explained onscreen, ending on the face of a mummified monk. Back in the country, at the Mt. Resurrection-Wolf shrine mountain ascetic Kenichi (Mahi To The People) is attempting to mummify himself as a sacrificial offering to stop the “plague” which has been spreading since the monster’s discovery but his efforts are disrupted by an earthquake which sends him into existential torment from inside his coffin while collapsing the mine in which the monster had taken root.

On his way to rescue Kenichi, Teppei, apparently a former monk himself now working as a mechanic, encounters a crazed salary man ranting that the monster has infected us all. He’s not the only troubled soul Teppei encounters, later passing a woman in the middle of her shopping screaming that we’re all in hell and it’s the monster’s fault, but as head monk and herbalist Jiro (Issei Ogata) points out, nothing can destroy the evil spirit haunting the town because you cannot kill what is intangible. You can’t end the plague by killing the monster, only by curing it because the monster is a part of nature too. Humans possessed by demons are cured by humans who might also in fact be demons themselves. There is only imperfection and co-existence. All you can do is show the way.

The irony is that Kenichi, eaten up by rage and resentment over the death of his younger sister Natsuko (Itsuki Nagasawa) from the epidemic, thought he could change the world through prayer fiercely believing in the prophesied return of the Maitreya but if there is a Maitreya here it is Natsuko who appears to each of our heroes and eventually reveals the only real cure to her brother in instructing him to heal himself. Only by changing himself can he change the world. With the power of his Genriki, he knocked the demon of apathy out of Teppei but now he must point the finger within towards his own darkness, the rage and impotence that has in its own way made him selfish and left him blind to the true nature of sickness blighting his society.

That sickness is embodied in the stadium that looms in the background of the hospital rooftop where Kenichi meets his sister, explaining that he sees no point in competition and that the Olympics are nothing more than a “greed-filled field day”. The crazed salaryman bangs on the palace doors begging to be let in, berating the “politicians, landowners, bankers, and monks” for locking themselves away in safety, refusing their responsibility to those like him. Kenichi says he’s going to change the world through prayer, but Natsuko, child of summer, tells him nothing will change, not her or her illness. You can’t change the world by withdrawing from it, mummifying yourself is not the answer in fact it’s the essence of the problem and somewhat symptomatic of Kenichi’s egotistical saviour complex. You have to start with yourself, but in the end we save each other or nothing ever changes.

As topical as it’s possible to be, The Day of Destruction was shot in only eight days from June 22 to 30 with editing and postproduction on the incredibly rich sonic experience lasting until July 20 with the DCP arriving at cinemas the day before the release date of July 24 which is of course the “Day of Destruction” that should have marked the opening of the 2020 Olympic Games. It makes direct reference to the official wording of the government advice urging “self restraint” in light of the pandemic and situates itself in the “broken days of summer” of a lost year. Yet for all the fatalism and despair it also reminds us that “Everyone on Earth is a central player, we’re all in the same boat called Generation”, calling out for change but pointing an accusatory finger directly at the camera to remind us where the responsibility lies. –

“The Tokyo Olympics will begin on July 24th, 2020. Starting this year, that date will become a national holiday known as Sports Day. This has elicited a large divide between those in favor of it, and those against it. The rift spreads. A collision will occur. I have a feeling something will be destroyed. I’m not saying it will be a violent destruction. It will be a collision of differences–in ways of life; in ways of thinking. It is the era of division and intolerance. I thought, ‘it’s effectively the Day of Destruction.’ – by Toshiaki Toyoda

1.59GB | 56m 50s | 1920×1080 | mkv

https://nitro.download/view/028F3DE1C281842/The_Day_of_Destruction___Hakai_no_Hi_(2020)_dir._Toshiaki_Toyoda_(1080p).mkv

Language(s):Japanese
Subtitles:English hardsub

The post Toshiaki Toyoda – Hakai no Hi AKA The Day of Destruction (2020) first appeared on Cinema of the World.

Alone and self-sufficient since childhood, Tony shuns emotions as illogical and immature. After finding his true vocation as a technical illustrator, he becomes fascinated with Eiko, whom he marries. His life changes, he feels vibrantly alive, and for the first time, he understands and fears loneliness. But when Eiko’s all consuming obsession for designer clothes ends in tragedy, Tony finds himself alone again, sitting in his wife’s closet, gazing at her treasured couture pieces, the whispering ghosts of her soul. Finally, Tony places an ad in the paper searching for a woman who fits Eiko’s measurements perfectly.

Voted as one of the best Japanese movies of last year by Midnight Eye, and one of the few Japanese arthous movies that reached European and American cinema screens in 2005, deservingly so. A brilliant movie about loneliness and consumer culture.

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An adaptation of a short story by Haruki Murakami, even at only 75 minutes Tony Takitani feels laboriously over-protracted. Despite his impressive track record with films such as Tokyo Lullaby (Tokyo Yakyoku, 1997) and Osaka Story (Osaka Monagatari, 1999), Ichikawa’s primary career as an advertising commercials director is most in evidence here, in this tale featuring Ogata as the eponymous middle-aged technical illustrator whose solitary childhood (his mother died when he was young, and his father was busy touring with his jazz band) resulted in his emotionally introverted personality. When he meets Eiko (Miyazawa), a beautiful and refined female client, he becomes besotted and ends up marrying her, but it is not long before her obsession with expensive haute couture designer clothing ends in disaster. Soon Tony finds himself left with nothing but an en suite wardrobe full of expensive fineries and no one to wear them. Out of desperation and loneliness, he places an advert in the paper for a perfect size 7 woman.

Tony Takitani plays out with the ersatz sophistication of a glossy commercial for cars or perfume, composed of delicate images, slow-motion sequences, and a muted greyish colour palette. Soft breeze rustles through every scene, with the camera panning seductively from left to right to the evocative tinkle of Ryuichi Sakamoto’s continuous piano score through a variety of chic interiors ranging from Tony’s minimalist design studio to smoky lounge bars and fashionable boutiques. A comment on the shallowness of Japan’s consumer culture and obsession with the exotic allure of the West, perhaps, but the approach taken here is too subdued to stress the point, as shot after shot, the camera seems content merely to linger on the emaciated beauty of Miyazawa, whose role amounts to little more than that of a clothes horse, while an aloof third person narration from Nishijima further serves to keep us distant from the characters. Beauty is, after all, only skin deep, and boredom sets in even before Tony’s back-story, relayed through an atmospheric montage of old photos and film stocks, is over. (Midnight Eye)

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Language(s):Japanese
Subtitles:English

The post Jun Ichikawa – Tony Takitani (2004) first appeared on Cinema of the World.