Japanese Prono Movie
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Japanese Prono Movie
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2010 2010 Not Rated Not Rated 1 h 45 m
Kunal Basu (based on the story by) Aparna Sen
Kunal Basu (based on the story by) Aparna Sen
Kunal Basu (based on the story by) Aparna Sen
Snehamoy Chatterjee lives a poor lifestyle on Bali Island in the West Bengal Sunderbans, along with his maternal aunt who wants him to get married to Sandhya. But Snehamoy, who teaches for a living, has entered into a long-term relationship with Japan-based Miyage, and both have made a marriage-commitment without meeting each other. Sandhya will end up getting married, giving birth to a son, getting widowed, and after the passing of her mother, will move in with them. Snehamoy will continue corresponding and even speaking with Miyage on the telephone, and it is here he will find out that she is ill, and he will consult with doctors dealing with a variety of Unani, Allopathic, Ayurvedic and Homeopathic medicines in order to find a cure for his pen-pal/wife. — rAjOo (gunwanti@hotmail.com)
The shooting locations are Kolkata and Sundarbans in Bengal and the Japanese cities of Yokohama and Tsukuba, Ibaraki.
You won't take your eyes off the screen from the opening scene to the closing credits of "The Japanese Wife." Although this is a simple love story, it's visual style and look reminded me of another great Indian film, "Water" which also had a female director, Deepa Mehta. Aparna Sen, the director of "The Japanese Wife" uses the visual beauty of India, especially the rivers, as effectively as the cinematography of "Water." The acting is superb, as Rahul Bose and Chigusa Takaku as the star-crossed spouses are excellent. The supporting cast, mainly the aunt (Moushoumi Chatterjee) and a little boy(Rudranil Ghosh) are both very good. The story is a very basic one showing 2 people of vastly different cultures falling in love via letter writing. The universal message of loneliness and yearning are depicted in a very interesting way. Even as a cynical American, I cannot recommend this film highly enough.
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Pen pals decide to get married and carry-on a long-term relationship. Pen pals decide to get married and carry-on a long-term relationship. Pen pals decide to get married and carry-on a long-term relationship.
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Best Japanese Movies: The Top 40 of All Time by Jes Kalled | ART
1. Glasses / めがね - Naoko Ogigami (2001)
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The vast world of Japanese films is incredibly hard to narrow down. Where does one begin? Here are 40 Japanese films from various genres, directors and historical backgrounds . A diverse list to jumpstart your introduction or further your indulgence into contemporary Japanese movies, post war classics, feminist shorts and even silent movies. We know you’ve seen Totoro already, so here is an array of other delights!
Many of these Japanese movies are available to buy online, so where possible we have provided a link. If you do buy through these links we may receive a commission at no cost to you.
Glasses / めがね - Naoko Ogigami (2001)
Glasses or Megane is a purposefully slow-paced movie, meant to lead viewers into a sleepy state . Director Naoko Ogigami even warned the audience of this theme and side effect in its San Francisco screening. In the film, protagonist Taeko moves to an island to get away from the city. She stays at the Hamada Inn and meets an eclectic group of people there. At first, Taeko is somewhat overwhelmed by their quirks. Megane takes us through a journey with Taeko, giving her space and time to adapt to new surroundings, and introducing her to a different way of living that allows for simplicity, and appreciation.
Sonatine / ソナチネ - Takeshi Kitano (1993)
Takeshi Kitano is a well known actor, writer, editor and director of several hit gangster films. Sonatine was received poorly in Japan, but rather well overseas. It was seen as a new kind of gangster genre . According to an article by Rob Mackie published in The Guardian in 1998, “...it's a largely peaceful, contemplative work, punctuated by moments of extreme violence.” The plot follows a tired yakuza gangster played by Takeshi. His boss sends him to Okinawa, where he wonders if he will be ambushed. Although moments of gunfire and violence break out throughout the movie, the story also contains lulls where the men are relaxing on the beach, playing games that are tinged with suspense.
The Great Passage / 舟を編む - Yuya Ishii (2013)
A charming love story that attempts to define love, literally. This drama/comedy follows a young linguist enthusiast who is passionate about words . Recruited by a group of other editors, protagonist Majime takes on the project of writing a “living dictionary.” The project is no easy feat, and has already taken years and years of work. In addition to his labor of love, Majime has begun to fall for his landlord’s granddaughter. The exterior of this film plays on Majime’s idiosyncrasies and charming nerdy-ness. But a deeper look shows how words connect people, and the different ways we must learn to express them to the people we care about most.
Shall We Dance? / Shall we ダンス? - Masayuki Suo (1996)
Shall We Dance? is a romantic comedy about a successful salaryman named Shohei who has sunken into a bit of a depression despite his outward good fortune. While walking home one night, Shohei sees a woman framed in a window sill. His interest in her piquing to the point where he decides to take dance lessons at her ballroom studio in order to get closer to her. Shohei grapples with the embarrassment of taking secret dance lessons, but discovers a new kind of appreciation for self love, and movement , even if it originated from the west. Shall We Dance? is entertaining and cute, earning it additional recognition outside Japan upon its initial release in 1996.
Kamome Diner / かもめ食堂 - Naoko Ogigami (2006)
Set in the Finnish capital of Helsinki, Kamome Diner, follows a Japanese woman named Midori, who has just opened a small restaurant that serves Japanese food. Midori is independent and determined to share onigiri and other Japanese soul foods to this foreign city she now calls home, but her new business is slow, and her customers are few. Similar to director Naoko Ogigami’s earlier film, Megane, the protagonist meets other quirky individuals throughout her journey. Interestingly in Kamome Diner, these characters form a bond despite their somewhat mysterious backgrounds that slowly unfold.
Woman in the Dunes / 砂の女 - Hiroshi Teshigahara (1964)
A Japanese new wave film from 1964, Woman in the Dunes won the Special Jury Prize at the Cannes Film Festival. Shot in the Tottori Sand Dunes, the story centers around Junpei who is kidnapped by local villagers who live by the sea . Junpei eventually becomes entrapped in the sand dune with a young widow, whose job has become to dig sand, not only for employment but also to save her own life. The cabin threatens to be swallowed by sand at any moment. With nothing but a reappearing rope later that teases freedom, the two lose track of time and space in their capture. Brutal and erotic, Woman in the Dunes explores the depths of human existence.
A Whisker Away / 泣きたい私は猫をかぶる - Junichi Sato and Tomotaka Shibayama (2020)
Originally meant for theatrical release in early June of 2020, Whisker Away was sold to Netflix and released in mid June for an “at home” premier due to the COVID-19 pandemic. This animated film tells the fantastical love story of Miyo , who longs for the attention of her crush, Hinode. Unable to connect with him in person, instead Miyo begins bonding with Hinode in the form of a cat, of which she’s able to transform into with a magical Noh mask. Caught between her life of being a human and her life of being a cat, the magic that allows her to spend time with her crush threatens to change her life permanently. This film captures the essence of youth and summer festivals in Japan.
Floating Clouds / 浮雲 - Mikio Naruse (1955)
Mikio Naruse is well known for his shomin-geki films, or in other words, films about the lives of everyday people. He is also well known for writing strong, independent female protagonists into his films, most of which lead and carry the film’s plot. Floating Clouds is based on a novel by Fumiko Hayashi that takes place in the post WWII era. The story follows Yukiko, a woman who has just returned to Japan from then French-Indochina . Upon her return to Tokyo the audience watches her take in the city’s wreckage after the war. She acts as a kind of flaneur, walking or floating through the city, experiencing loneliness also in part due to the absence of her lover, Kengo. The film shows us flashbacks of their romantic time together years before. Through Yukiko, we wonder if they will reunite in happiness once more.
The Chef of South Polar / 南極料理人 - Shuichi Okita (2009)
Despite the freezing cold of the South Pole, The Chef of South Polar warms your heart with its approach. Eight men have set off on a research expedition in Antarctica . The mission is both rewarding and isolating. Jun Nishimura’s job is to cook for everyone day in and day out. He takes great pleasure in making the group various delicacies, and takes pride in their enjoyment of his meals. Due to the restrictions and limitations and the very nature of their work in sub zero temperatures, meal time becomes the one place they indulge in. Based on the autobiographical essays by Jun Nishimura, this adaptation by award winning director Shuichi Okita tells a story of comradery, loneliness, and mouth watering food.
Muddy River / 泥の河 - Kohei Oguri (1981)
A black and white classic about two young boys becoming friends in a post-war Osaka, Japan. The children come together and befriend one another without judgement, but soon learn of their family’s backgrounds and are introduced to the bleak reality of societal discrimination . Muddy River’s director, Kohei Oguri made only 6 films throughout his long career. Precision and restraint seem to hold this delicate tale together. Simple shots emote the undercurrent of grief and struggle that many underwent during that era.
Mori, The Artist’s Habitat / モリのいる場所 - Shuichi Okita (2018)
Based on one day in the life of the non-fictional famous painter , Morikazu Kumagai, Mori, The Artist’s Habitat sheds light on the artist’s seclusion and his genius. The last few decades of Kumagai’s life were spent in his garden. The film shows his admiration for the micro details he discovers in his backyard, which appear endless. One with the nature he emulates in his work, Kumagai is met with the challenge of protecting the atmosphere of his home from the property developers who want to build apartments that will alter what is his entire world.
Sandakan No.8 / サンダカン八番娼館 望郷 - Kei Kumai (1974)
Nominated for the Academy Award for Best Foreign Language Film, Sandakan No.8 tells the sensitive story of the Japanese girls and women who were sold as sex slaves in the early 20th century ( karayuki san ). The film, similar to the book published in 1972, follows a journalist named Keiko who meets an elderly woman (Osaki) whom she suspects was sold into brothel work abroad. Eventually, Osaki begins to share her story with Keiko, which are viewed as flashbacks into the 1920’s. Sandakan No.8 focuses on a subject that is rarely discussed, and often skimmed over even today.
Sweet Bean / あん - Naomi Kawase (2015)
Starring real-life grandmother and granddaughter Kirin Kiki and Kyara Uchida, Sweet Bean is a heartfelt, human drama that may make you cry. The film begins with an eldery woman named Tokue approaching Sentaro, a middle aged man who owns a dorayaki shop. Tokue confesses she’s always wanted to work at a dorayaki shop. Initially worried about her age, Sentaro turns down her application, but changes his mind when he tries some of her bean paste, which is superior to his own. The film tugs on your heartstrings, and urges the audience to take delight in the wonder of a single moment , to overwhelmingly appreciate those experiences over societal pressures.
Tokyo Chorus / 東京の合唱 - Yasujiro Ozu (1931)
Tokyo Chorus is a silent film from the beginning of the talkies era. Known as a silent comedy despite being set against the then contemporary backdrop of the depression, Ozu’s Tokyo Chorus plays in class politics and stands up against capitalistic bullies . The story begins with a young school boy, Okajima, who gets in trouble for misbehaving. The real reason for the young boy not wanting to take off his jacket, is that there is no shirt underneath. Next, the story finds Okajima as an adult man, employed but in a position to stand up for a colleague less fortunate than he, and his son asking for a bicycle. “Tokyo, city of the unemployed” reads a caption in the film. Although surely a commentary, Tokyo Chorus celebrates good, moral character, and dances through the hardship, just managing to stay afloat.
Departures / おくりびと - Yojiro Takita (2008)
The film, Departures, was initially stigmatized by the nature of its subject matter: death, and the people that deal with death. So much so that Japanese distributors were reluctant to release it at first. In the story, a cellist named Daigo returns to his childhood home of Yamagata after he loses his job in Tokyo. Daigo applies for the position of “departures assistant” which he assumes to be related to travel, only to find out he is meant to assist a mortician. The nature of the job is so taboo in Japan that he keeps it a secret from his wife . Profound in its composition of emotions and human aversion to death, Departures aims to move its audience with a soft touch on a hard subject.
Streets of Shame / 赤線地帯 - Kenji Mizoguchi (1956)
Mizoguchi’s last film, Streets of Shame, tells several first hand stories from women working in a brothel . Each woman has a different background and different perspectives, and aspirations to share. The stories take place amid a Diet decision on whether or not to ban prostitution. The lives that the audience see unfolding in the film are seen within the lens of a post-war Japan, very much affected by the ripples of poverty. True to Mizoguchi’s other films, Streets of Shame once again sheds light onto the oppression of women in Japan by sharing the complexity of their stories.
A Piece of Our Life / カケラ - Momoko Ando (2010)
Momoko Ando’s first film Kakera or A Piece of Our Life follows a young college student (Haru) and a bi-sexual prothetist (Riko) who takes interest in her. The two women embark on a relationship with one another, but not without talking about why or how throughout the film. It’s a story that is conscious of exploring what love means . Haru is in a loveless relationship with her boyfriend, but finds intimacy with Riko. “It’s not that I like girls, it’s you I like, Haru.” Says Riko. Kakera is a coming of age story and self realization that stands out in subject matter and originality, its two characters beginning as antithesis of one another. Haru: floating and unsure, almost in a dreamlike state. Riko: in a profession of making people’s bodies feel whole again.
Black Cat / 藪の中の黒猫 - Kaneto Shindo (1968)
Black Cat is based on a folklore ghost story from Japan’s feudal times. The black and white horror film is a 35mm tale about two women who get revenge on the samurai men that raped them . It’s filled with unsettling music, and fluctuating moods that surprise and haunt the viewer. Realistic and campy effects take the stage. Pairing social commentary with magical and spiritual folklore, director Shindo embarked on a unique film that stands out in comparison with others he has written or directed such as The Naked Island (1960).
21st Century Girl / 21世紀の女の子 - 14 Female Directors under 30 (2019)
In a recent project spearheaded by 14 female directors under 30, 21st Century Girl attempts to grasp what it means to be female in Japan in this compilation of short films made by women for women . The theme centers around gender, and the complexity of what that means in a Japanese society context. Each film is under 8 minutes long, and highlights a body of topics largely missing from male-centric films. Some films such as Yurina Kaneko’s Projection focu
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