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As I've noted in the past, the OVA format has long been the format of choice for experimentation with material and styles not suitable for the broad reach of theater or television. A few OVAs like Take the X Train experimented with unconventional design styles, but for the most part even OVAs remained within the confines of conventional anime design thinking. Twilight Theatre of 1991 is one of the most daring OVAs ever in this sense. An omnibus of four shorts by different directors, it features more adult storytelling, albeit within the context of traditional ghost/horror literature, and some truly daring design concepts reminiscent of indie animation without parallel in commercial anime. I wrote about Shinya Ohira's contribution The Antique Shop before. But I just had a chance to see the whole thing, and it was quite a nice package overall. The quality is uneven, and the content is lurid and sensational, but its bold experiments make Twilight Theatre a shining example of the OVA format. (Watch here)
Ranging in length between 10 and 17 minutes, the episodes are each based on a single short story by Yumemakura Baku. The films thus tend to be dialogue-heavy, with voice-overs or extended sequences of exposition. Ideally the films should rely more on the visuals, but for the most part this didn't bother me, partly because the stories were simply interesting, and also partly because of the variety of styles on display. Dialogue-heavy anime usually turns me off, but the writing was interesting because it has a talented writer behind it, and because it's concise and to the point, building to its climax efficiently within a short span. The episodes have a literary intelligence while yet being entertaining as horror/supernatural stories.
I've always been partial to omnibus animation like this, and still think it would be a good thing to have a long-running show like this offering different animators the chance to try more daring styles than your typical long-running show. The length of these episodes is just about right. Manga Nihon Mukashibanashi (1975-1995) was one of the pioneers of this kind of animation, and it produced some fantastically creative work. This was followed up by its even more creative if shorter-lived Madhouse imitator Manga Sekai Mukashibanashi (1976-1979), which as mentioned before featured some great episodes by Osamu Dezaki. Shin-Ei joined the fray in 1979 with The Red Bird, perhaps being the first omnibus anime based on literature, adapting different classics of children's literature. Nippon Animation made a literary omnibus in 1986 with Animated Classics of Japanese Literature.
The advent of the OVA market saw an explosion of low-quality children's lit omnibuses, but two of the better ones were Toei Animation's 6-episode Tokuma Anime Video Ehon Hanaichi Monme OVA series (1990), featuring directing by Junichi Sato and animation from Koichi Arai, among others, and Nippon Animation's Anime Art Video Collection (1993), featuring work by old masters such as Yasuji Mori and Shichiro Kobayashi. (The Jack and the Beanstalk short by Koji Morimoto and Atsuko Fukushima mentioned in the last post is part of this series.) It seems like most of the major studios of decades past have taken a stab at the animated omnibus. More recently, Studio 4C did so with Kimagure Robot (2004), based on the short shorts of Shinichi Hoshi.
Twilight Theatre is also an omnibus based on the work of one writer, and is notable perhaps for being one of the first literary omnibuses for adults. Two of the episodes include love scenes of a kind one would see in any typical Hollywood movie. Ero OVAs like Urotsuki Doji (1987-1996) quickly flourished in the new market, but the love scenes in Twilight Theatre are more matter-of-fact than explicit. Sex is treated in a mature, tactful way rather than with the giggly man-child fetishism of most other professedly mature anime. It's rare to see a truly mature treatment of sex in anime. The few anime with a truly realistic aesthetic like Jin-Roh or Omohide Poroporo aim for a general audience that precludes such frank depictions of sex. That's perhaps the most refreshing thing about this show. Beyond the sex, it's the sensibility that clearly sets the show apart. The storytelling is mature, the tone is restrained and without childish antics, and the material is sometimes downright unglamorous, as in the story of The Antique Shop, about a salaryman disappointed with his life.
The series was produced by Studio Pierrot, but two of the shorts were actually produced by Ichiro Itano's D.A.S.T. (Defence Animation Special Team). This studio was founded by Itano in December 1986 and went on to produce a number of high-quality and high-violence OVAs including Battle Royale High School (1987), Violence Jack (1988), Kujaku-oh 2 (1989) and Angel Cop (1989-1994). It's D.A.S.T.'s two episodes that make this OVA release truly noteworthy. Ichiro Itano had the generosity and vision as producer to give two young but talented realistic animators who had worked on these OVAs in the preceding years the chance to mount their directing debuts with these shorts - not to mention seemingly giving them carte blance, judging by the highly unconventional and challenging nature of their respective films.
Ephemeral Dream 夢蜉蝣
|Line Director:||青木佐恵子||Saeko Aoki|
|Art Director:||西川増水||Masumizu Nishikawa|
|Key Animation:||林千博||Chihiro Hayashi|
|Animation Production:||スタジオぴえろ||Studio Pierrot|
The opening short tells the story of a college student named Mibu who one day while taking a test in class notices a strange aura around a girl named Ayabe. He tries to find out more, but is warned off by another student named Himuro. Mibu discovers several ancient poems that speak about the ephemerality of love using the phrase Yumekagero, which is also the name of a mononoke whose aura can only be seen by a special few. Himuro also has his eyes on the girl. It turns out Ayabe may have killed Himuro's brother 10 years ago, and now Himuro wants to be next...
Essentially a horror story about a mayfly-like mononoke that serves as a metaphor for the ephemerality of love, the title as well as the story of this short are built upon a double meaning that is complicated to translate but that makes for satisfyingly layered viewing when watching. The name Yumekagero comes from Kusakagero, a damselfly-like insect that lives for only a day. The aura that surrounds Ayabe is called Udumbara, which is both the name of the flower of the Indian Fig Tree, which grows secretively inside the fruit, and the name of the larva of the Kusakagero. Ayabe was impregnated by the Yumekagero, which hatches every 10 years when the Udumbara blooms, and must quickly devour the vitality of a male victim to lay its next brood. Ayabe and Mibu are about to consummate the ritual when Himuro barges in and jumps out the window to his death with Ayabe. It's too late for Mibu, though, who withers into an old man.
The story thus has a pleasingly literary density of allusion that elevates it slightly above typical examples of the genre in anime. Such material wouldn't seem suited to animated adaptation, but it works fairly well in the short running time without being too confusing.
A mid-period piece from Yasuomi Umetsu after his debut on Robot Carnival (1987) but before his breakthrough with A Kite (1998), I enjoyed this despite it being somewhat light in the animation department, both compared with Umetsu's other work and with the other pieces in the set. There's no blistering action, or any action whatsoever for that matter, only everyday acting scenes, but I actually like that its focus is on everyday acting. It allows you to appreciate the skills of this great animator without being distracted by either overactive animation or the typical Umetsu tackiness that I find tends to mar his own films.
Umetsu is a very technical animator, and he likes to grandstand. There is less of that here, but his seemingly effortless precision draughtsmanship comes through loud and clear. He poses characters in a variety of ways, changes their expressions dynamically, and can draw their bodies in motion three-dimensionally from any complicated angle and maintain their shapes as if they were rendered by a computer.
Umetsu also has a peculiar design sensibility that I usually find off-putting, but the characters here were more restrained in their designs, so I rather enjoyed them. I thought they were light in touch and subtly stylized in a pleasing and appealing way, for example the huge angular jaw of the protagonist's bespectacled friend, or the elegant oval of Ayabe's head. His character drawings are somewhat similar to Satoru Utsunomiya in the sense that their bodies feel stiff and rigid, and are drawn with sharp lines and angular forms, but where Utsunomiya's characters tend to be minimalistic and doll-like, Umetsu riddles his characters with peculiar distinguishing features, for example the three symmetrical hairs on the end of the protagonist's eyebrows in this short.
I find this piece shows how school drama should be done. The people in this short are actually believable as college students in the way they talk and behave. The body language and interpersonal dynamics are just realistic and understated enough to be believable. The acting is also nuanced without being lushly animated per se - it's more about skilfully timing the right expression or pose with a mere few drawings. And Umetsu has his own way of making the characters act that makes sense and isn't merely following a playbook of cliched stock expressions and poses, as is the case in most anime nowadays. Some animators nowadays seem to think that making characters flail about randomly is good acting, but Umetsu shows a good example here of how to make characters act in a way that makes sense in the context and is believable, without flamboyantly using a lot of drawings.
The short is actually not directed by Umetsu but by one Saeko Aoki of Pierrot. She is only credited with line directing, but she must also have drawn the storyboard. This is also the case in the Shinichi Suzuki short. The Yasuomi Umetsu and Shinichi Suzuki shorts were produced by Pierrot, and the Shinya Ohira and Shinji Hashimoto shorts were produced by Ichiro Itano's D.A.S.T. The Pierrot episodes also feature a very small number of animators compared with the long credit rolls of the two D.A.S.T. episodes, and the nature of the films reflects this; the two D.A.S.T. films are very much about the animation, whereas the animation seems almost perfunctory in the Pierrot films, whose focus is more on the narrative. Now largely associated with shonen fighting anime, Pierrot was at this time largely associated with magical girl fare, but occasionally produced the random highly artistic OVAs like Magical Emi: Semishigure and Gosenzosama Banbanzai and then this.
Tatami Voyage 四畳半漂流記
|Art Director:||石垣努||Tsutomu Ishigaki|
|Key Animation:||橋本浩一||Koichi Hashimoto|
A guy named Shimada is on his way to meet his crush, Saori, when he has a run-in with a thug and gets beaten up. A mysterious passer-by rescues Shimada and asks for a favor in return. Saori happens by the scene, and together the two go back to Shimada's apartment to hear the stranger's request. The stranger informs them that he's looking for a certain something called "Pemu". Shimada hesitatingly accepts, and the stranger tells them their journey has already begun. Confused, they look out the window, and realize they got more than they bargained for, and the stranger is no mere mortal...
The directing debut of animator Shinji Hashimoto, this is by far the most striking of the four shorts. It's not often at my jaded age that I'm caught off guard by animation, but this thing shocked even me. This short is nothing less than a well-deserved bullet to the head of conventional anime character design. My jaw was literally dropped throughout much of the runtime. It has a style like nothing else that has ever been made in anime. The drawings at first sight appear to be deliberately ugly, but I find them quite appealing, in an extremely offbeat kind of way. Hashimoto attests to having been inspired by a 1990 manga called Bunpuku Chagama Daimaoh, the debut of Tokyo Tribe mangaka Santa Inoue, The drawings of this manga are by no means identical to the designs of this short, but you can see how they might have inspired Hashimoto to go in the direction he did.
What he got from the designs was the idea of freely, loosely drawn forms drawn with quick, firm, assured strokes. In anime, you usually have to draw a character exactly on model and get all the shapes and details just right. Otherwise it's off-model. The designs here represent an overturning of this fundamental rule of animation drawing, at least in anime. Rather than drawing outlines first, then filling in the details, and getting everything just so, these designs can still be properly drawn even if the details are not all the same in each shot. The forms are drawn as a series of bulges whose shapes can vary in relation to one another and still feel like the design is maintained. The characters have something of the character of blobs. This is somewhat reminiscent of the cartoon aesthetic of the west, with its stretch and squash, but it's not quite the same. There's no stretch and squash here. Hashimoto invented his own unique approach that was basically more suited to his own temperament and personality, and made the process of animating fun for himself, rather than the tedious chore it can become if you have to spend a lot of time on getting the details of a design just right. I'm not an animator because I'm too impatient. I think I would enjoy drawing Hashimoto's characters because they wouldn't be a pain in the butt.
The designs have almost a naif feeling, as if they were drawn by a child or an outsider artist. But clearly that is not the case, as the animation is at times extremely rich and nuanced, and of course Shinji Hashimoto is an ex-Telecom animator. Santa Inoue is related to Taiyo Matsumoto, as is his style, and the style here seems indebted to the whole indie manga aesthetic. This episode is a prime example of how the pair of Shinya Ohira and Shinji Hashimoto injected an indie and punk feeling into anime, subverting the industry from the inside out. I wish animators in the anime industry would come up with their own approaches like this. There is the whole heta-uma movement started by Shiriagari Kotobuki, with its anime analogues in a few shows like Manga Biyori, but Hashimoto's film is totally different from that; it's quite sincere rather than sarcastic.
The animation is very strong in certain spots, and at all times nothing short of mesmerizing due to the design choices. Every drawing fascinates, because you can see the animators actually having to think, to come up with an answer to the question of how to draw these characters. The animation where the guy transforms in front of the monster near the end is particularly impressive, and may have been the work of an uncredited Satoru Utsunomiya. For some reason many animators in this and Shinya Ohira's short went uncredited.
The animation at times has the feeling of Takashi Nakamura, particularly with the way the monster's face is drawn with these big, deeply sculpted nose and lips. Apparently this short was made by essentially the same team of animators as The Antique Shop, but The Antique Shop was done first, and by the time of this short, they were all really pooped and didn't have much energy left. It still looks pretty impressive, considering the very short schedule in which they made it. Just goes to show that it's not budget and schedule that make for compelling animation, it's the overwhelming desire to make something incredible, consequences be damned.
The remarkable thing is that this is nothing even remotely like the style with which Shinji Hashimoto is typically associated. It's a complete one-off. There must be so many other talented animators out there who, if given the chance like Hashimoto was here, would be able to produce novel visual schemes of a kind we would never have expected, but they just haven't been given the chance. OVAs like this were a precious opportunity to try new things. Hashimoto hasn't directed anything since, except for one opening. OVAs haven't gotten any more daring.
A Mountain Ghost Story 深山幻想譚
|Line Director:||青木佐恵子||Saeko Aoki|
|Art Director:||伊藤主計||Kazue Ito|
|Key Animation:||竹山稔||Minoru Takeyama|
|Animation Production:||スタジオぴえろ||Studio Pierrot|
A mountaineer sits alone with his thoughts, warming himself to the fire and sipping coffee while reminiscing about what drove him to seek the mountain he enjoyed hiking as a youth, now, in his advanced age: The failure of his small business, and the avalanche of responsibility that followed... His wife, screaming in anger... The life insurance that would take care of his debts and his wife if something were to happen to him.... Yes, he has come to the mountain to die. His dark thoughts are interrupted by the arrival of an unexpected visitor, who begins talking about strange things like mountain spirits.
Featuring drawings by Shinichi Suzuki of The Life of Gusko Budori, this is the most static and minimalistic short in the set, but also the longest, clocking in at 17 minutes. (By contrast, Shinji Hashimoto's vividly animated episode is understandably the shortest, at 10 minutes.) Most of the episode consists of two people sitting around a fire talking. In terms of both directing and animation, it's very restrained. The directing and animation serve mainly to narrate the story about this man's past and the mysterious stranger. You could criticize this short, as well as Umetsu's, for being a little too reliant on the source material and not creating an emphatic visual analogue to the script, but honestly the story is interesting enough that I didn't mind this at all. It makes for a good balance in tone to have one more static short like this in the set, so the film should more rightfully be judged within its original context.
Despite having very little to it, the story kept me interested throughout. You can feel the pain of the protagonist, who has gone through hard times and has retreated to the solitude of the mountains to gather his thoughts and potentially even end his own life. I can certainly relate to this feeling of wanting to give up, one we've probably all felt at some time or another. I felt the long shots focused on the protagonist did a good job of establishing the atmosphere of this section. [SPOILER] Perhaps I'm just naive not to have seen it coming, but I was genuinely surprised by the ending, and it provided the poignant final touch to an already poignant setup. After the stillness of the entire episode, suddenly the interloper walks forward and stands into the fire, to the shock of the protagonist, and then violently grabs the protagonist's face and shoves him into the bottle. Dramatically and visually it makes for quite a sucker punch after all that calm and stillness. He was a ghost all along, having long since died on the mountain.
Although not up to the level of an animator like Yasuomi Umetsu, Shinichi Suzuki nevertheless does a decent job here as the near-solo animator of the whole episode. He's less technically accomplished than Umetsu, but has a cartoonish and exaggerated way of animating the characters using very few drawings that is appealing in its own way. I particularly like the detail lavished on depicting how he opens up the package of coffee. Little details like this conveys the reality of the situation well. The interloper appears to be designed in a way reminiscent of Buddha, with his long-lobed ears and paunch, which is an interesting choice. His animation is rather lively and fun. Once you've seen the episode, everything takes on a different meaning on a second watching, as you understand the subtext of the protagonist's words and body language.
I don't know much else about Suzuki other than that he was one of the founding members of Animaru-ya in 1982, having done sakkan work on Sasuga no Sarutobi that same year, and is still very much active, having founded his own subcontracting studio Anime Kobo Basara アニメ工房婆娑羅 in 1997. Incidentally, this Shinichi Suzuki is written 鈴木信一 and is unrelated to the Shinichi Suzuki who was an animator at Otogi Pro in the 1950s, whose name is written 鈴木伸一. His studio is one of the few subcontractors who do work for Kyoto Animation productions, presumably due to the fact that Kyoto Animation's Kigami Yoshiji is a fellow Animaru-ya expat.
The Antique Shop 骨董屋
|Art Director:||長尾仁||Jin Nagao|
|Key Animation:||佐々木守||Mamoru Sasaki|
The lost protagonist of The Antique Shop is going through a bit of an early mid-life crisis. Once an aspiring painter with a beautiful girlfriend, he had a falling out with his girlfriend and now lives a boring life as a salaryman. A night out drinking with his old buddies turns sour as they regale him with stories of their success. He slips away into the night, pondering the point of his life, when his eyes fall on a strange antique shop. He slips in on a whim, and takes a metaphysical journey down memory lane, in the process discovering the suppressed memory of a tragic mistake that led to his downfall.
Shinya Ohira's directing debut is still beautiful to look at after all these years, and probably the best film in the set. It's the only of the four shorts that actually feels cinematic. Ohira tells this universal story of frustration, disappointment and dashed hopes through the lens of a harsh but loving realism that was unprecedented in its time. Even later realistic works don't quite adopt a tone as gritty and drably honest as this. And he did so in his directing debut, under extremely adverse production conditions that rendered the film technically somewhat of a mess, replete with photography mistakes and rushed animation.
There's an attention to detail here that's on a different level from the other shorts. Every shot is thoroughly creatively designed and conceived to create a dynamic flow as well as translate the psychology of the protagonist at each juncture. Early on, in the streets, the urban electrical wiring seems to entangle the man like a spiderweb as he falls to the ground and vomits on the sidewalk. Laughter echoes from somewhere, as if the city and life were laughing at his misery.
In the curio shop, as the protagonist walks through the doors, he passes by a mirrored dresser, and you can see his shadow passing in two directions at once as the image of his face briefly slides through the mirror, creating a disorienting effect mirroring the chaos of the interior of the shop and his mental state. The next shot is another disorienting shot in which we peer at the protagonist from above through the ticking and whirring guts of some kind of antique cuckoo clock. This cuts to a shot facing the protagonist as he looks around the interior, which in turn cuts to a POV shot of his eyes scanning the interior, which is depicted in intricate detail that makes you appreciate his wonder.
The objects in the shop actual feel very used and personal, which is essential to convey to the audience, as this sets up the reveal that they are in fact relics of his own childhood. He also uses a variety of directing techniques to achieve his ends, for example a panning shot with different parts of the shop moving at different speeds across the screen on different 'book' layers, followed by an animated 'mawarikomi' or rotating shot of the protagonist.
I like the story of this film for one because I can relate to the protagonist, but also because the supernatural element is there as the agency to help narrate a man's story, rather than being the main narrative thrust, as it usually is in this genre of story, and as it is in all of the other stories in the set.
I would love to see a full-length TV show done in this pared down realistic style, although I know it will never happen. There have been full-length features made in a completely realistic vein, but those are different. I want to see something that is more like 3000 Leagues in Search of Mother in the sense that entire episodes are just devoted to depicting everyday life in its minutiae, minus the dramatic pretenses. I don't even mind the roughness of The Antique Shop, as you can see past that to the realistic core of the episode, so considering how short a schedule such a realistic film was produced on, I don't think it's unreasonable to think it would be possible to produce a TV show in this style.
Many of the shots have a lovely simplicity and subtlety to them thanks either to Ohira, who corrected some of the shots (like the late close-ups in the shop), as well as the talented group of animators he managed to scrounge up. For some reason, several of the best animators went uncredited. Confirmed uncredited animators are Akihiro Yuki, Kazuyoshi Yaginuma and Mitsuo Iso. Akihiro Yuki of Oh Pro animated the first few shots of the reminiscence where Keiko is working at the cash register, drinking tea, and where the protagonist is painting with Keiko looking on. I'm quite fond of his work. He again worked with Ohira on the Junkers pilot and then the film itself. Iso meanwhile animated the two shots of the protagonist smoking, while Yaginuma animated the scene immediately following where Keiko rushes to the sink to throw up. I wonder if maybe Masatsugu Arakawa also didn't draw a few uncredited shots. Some early shots in the film look like his style.
So the full omnibus is finally available. I had only seen Ohira’s short before, but Hashimoto’s is quite nice. I didn’t watch the other two because without understanding the dialogue they are a bit hard to get through.
Hashimoto’s short was interesting in its approach, though I wish he’d had the chance to flesh out the style a bit more as it seemed like he was still playing around and seeing what he liked. I liked the big, plump limbs (and hands) that were exploited in the acting, and the constant shifting of the faces which moved enough without having the characters ‘flail around randomly’ to use your words. Even when they only used few drawings, the expressions are timely and fitting. I liked the short bit where the man is telling the girl not to open the door, for example.
The transformation scene looks like it could only be Utsunomiya, I can’t think of anyone else who draws the lips and ‘dolljoints’ like that.
The story seemed quite silly from what I could gather, and those synth tunes contributed to the cheese. Completely different to Ohira’s short which feels more accomplished as an overall package, and more confident in its directing.
I really like Ohira’s. It doesn’t overstay its welcome and tells a depressing but real story skilfully. Although I don’t see the ‘loving’ you speak of, the short’s world-view seems almost nihilistic in how none of it really mattered at the end- he’ll still be a depressed salaryman without purpose the next day.
I really liked the sound effect used for the vomiting. It contributes just as much if not more than the animation in making that bit visceral and gross.
The design is, as you said in your previous post about the short, going in the direction of Hamaji with its pared down realism highlighting little features. I would have liked to see something more developed along these lines, but without the Yuasa touch that is present in Hamaji. I like Yuasa but he does a different kind of thing; something like the shot of the woman above. It’s more plain, but also more down to earth, while a lot of Hamaji feels more surreal and out-there. I guess each of the approaches fits the film they were in. Of course Ohira’s own animation is undisputed when it comes to this brand of realism (he actually went back to a Hamaji-like look in his cut for Rainbow Fireflies, you might like what he did there!).
i loved the tatami voyage short. in regards to the character design, the style looks like it was partly influenced by pablo picasso and maybe van gogh’s early figure sketches.
thanks a bunch for covering this OVA. it was a treat to watch.
Great to finally see the OVA in its entirety. My only real critique is that they’re all kind of about the same pitiful man, at various points of losing/loss with his life and his ephemeral/doomed/past woman symbol (I know, I know, adapted material). Thematically, it’s sound. I just would’ve liked to see some variance, even if I can appreciate the familiarity of the message and the careful presentation.
I’ve only seen a cut of Ohira’s piece in a Tatsuyuki Tanaka MAD: the shot of the woman being shoved into the table. Supposedly, he animated that part, along with the shot of the fetus in the man’s hand. It’s saved here on Catsuka (bless ‘em) if you want to maybe verify: http://www.catsuka.com/player/mad_Tatsuyuki_Tanaka2 (at about 1:09-1:30) Anyway, much love for Ohira, and anything more would just be repeating what you said.
As for the others, Hashimoto’s short surprised me by how much I liked it; particularly everything after the opening. Martin’s Picasso comment is pretty apt; my favorite thing is the impressionistic look of the characters grounded by the naturalistic poses and increasingly vibrant movement. That final sequence is real visceral stuff, even if I’m left rather unsatisfied on the whole. It’s probably the most radical I’ve seen Shinji Hashimoto.
I can even like Suzuki’s part, despite my rather limited understanding of Japanese (wasn’t the best student, a-heh). On a personal level, it reminded me of the hiking/camping trips my father would take, often alone, and some of the ones I’ve been on. I’m sure it’s even more suspenseful with the dialogue.
Also, ditto on Umetsu. That guy is so frustrating; like you said, he’s technically very good. His understanding of the character, pose-to-pose, and in relation to the environment/plane is all really solid. He’s also never lost his ability to direct punchy action sequences, or his bold use of light and shadows. But his works are flawed and so very much pap. It’s all superficial sheen that never goes far enough as a visual or personal statement. I feel like his best work is between AD-ing for Megazone 23 and his Mezzo Forte OVA, where he’s at his most honest about his love for pulp/noir goofiness.
I think the schedule was super rushed, so he didn’t really give it that much conceptual thought, and he was after all a first time director. The big hands were a thing at the time among this school of animators - you see huge hands in Hakkenden, Ys II, etc. The transformation scene may have been done by Kakita. Utsunomiya may have done something before then. Not quite sure.
The tone of the piece is definitely peculiar, deliberately so, with the strange offbeat music and the bizarre scene of the stranger confronting that thug like a schoolteacher reprimanding a bad child. I actually like the strange tone, though it’s never developed enough. Ohira’s short is definitely more confidently conceived and executed. But I give Hashimoto credit for going in a daring direction that he conceived himself and doesn’t really have any analogue to copy from.
A happy ending where the salaryman’s future was changed or something would have been silly, so the bleakness doesn’t bother me. I just wonder what happened after the short ends and his friends are looking at him holding a fetus on the street! I agree, maybe it’s a little petty of me, but I like how Ohira makes the vomiting as gross sounding as possible. I completely understand what you mean about the touch of this film without the Yuasa touch. I envision Masatsugu Arakawa’s pared down style in Yukiwari no Hana would be a good match with the pared down realism Ohira created here. Maybe Arakawa was even influenced by Ohira.
My pleasure, glad you enjoyed it. The Hashimoto short is amazing, and the Picasso observation is interesting. There is indeed a 20th century art feeling to the compositions.
I see your point. The stories do have a similar direction, like a Haruo Sato pitiful watakushi-shosetsu played through he filter of a ghost story. Personally I love pathetic stories about lost souls, so I didn’t mind.
Yes, I knew about the Tanaka bit. It’s nice and all, but I don’t really think it fits in the scene and kind of wrecks the atmosphere. The show turns all cartoony and bouncy right at the climactic moment when it’s supposed to be heaviest and darkest. I love Tanaka’s work at this period, but I think he fits better in Download, Hakkenden, Ran, Explorer Woman Ray.
Good point about the impressionistic designs being grounded in realistic posing and acting. The root is still realism, but with a surface of artistic stylization. I guess in a sense that’s Hashimoto basic style. His movement is always real and the acting down to earth and believable, but he never draws photorealistically, usually quite the opposite. He can even make characters like the Yamadas move realistically.
I had read about the influence of “Bunpuku Chagama Daimaoh” on “Tatami Voyage", but I’d never actually seen it until now. It’s interesting to see the result of that inspiration and makes me imagine what Hashimoto might have done with an adaptation of “Bunpuku” (or even some of Santa Inoue’s other early work).