Summer Sister (Japan, 1972, dir. Nagisa Oshima) // Wet-subtropical Okinawan daily: Are you a lark? If you can meet me by 9:00, meet me in Tsuboya. If it's 10:00, in Kinjo Square. By 11:00, at Churei Gate. If we do get warmed up, then I’m not going to paint the review in green because I’m cutting. Nagisa Oshima eschewed the green color of life, hope and immortality in his filmmaking. I don’t want to drink red hair either, because I really liked the movie. For my review, I will choose white, the color of the west and autumn.
Knowing about the corridor of Nagisa Oshima’s passion, I did not fail and inquired about his earlier works. At that time, he had not yet made money for French producers.
This is best when Japan is artistically filmed by an ethnically pure Japanese. Aggregate Japanese craftsmanship.
In contrast to the situation when a European or an American sensitively, feeling his back, offers his native viewer a supposedly undiluted Japanese identity. So he put his fingers together and took them off.
It's like giving roles to two abnormally tall Japanese handsome actors. Physiological passion will be too high and pure. A smile will mean accepting a person and loving them.
Oh, about male height. In the conversation of the older generation and a beautiful geisha with experience, on the beach, from the hero Tonoyama Taiji sounds: “I saw a man who had an erection before he died!” Geisha rejoices: What a beautiful death! Like Banke! Did they compare it so 'successfully' to the medieval warrior monk Benkei? Who died standing on the bridge protecting his master. His height was more than 2 meters.
Nagisa Oshima, cutting the boundaries of passion, shows this ethnographic way of thinking.
For Europeans and Americans, the sexual outcome of the 1976 Love Corridor/Grey Empire was shocking. But even against the backdrop of Oshima’s samurai background and his leftist opposition to the government, I see the passion of his heroes differently. Not just as an adult-burst social protest in the lyrical power of the landscape.
I see in this action a boiling sea soup. Unstrained, boned, finned. The desire of people from the same ethnic group in intimacy to the "way of preparing" each other in one plate.
But back to Itoman, Okinawa Prefecture. Eternal, national Japanese blue-green water thickness with light fine sandy beaches, black rock obelisks with a pattern of "lily" in memory of the young nurses of the 3rd Medical Unit who died in the Great Pacific Battle with the United States. Ceramic jars, which serve Okinawan strong avamori for tourists from Japan, are also the colors of these stones-obelisks.
Here's Tsuruo Omura, a resourceful but well-mannered, very handsome Okinawan boy with a guitar. He knows pre-war and military Okinawan songs. About school friends, about ripe cherries. Sunaoko should have known when he did not want to charge her money for words in Okinawan dialect: "brother", "sister", "feelings".
The hero of Tonoyama Taiji is a man from the plane, a companion of the girl Sunaoko and her future stepmother, young Momoko. Charismatic very, very involved actor socially heavy dramatic Japanese films postwar themes. Wild in nature, comic in life too, actually plays himself here. Momoko asks him if he had to kill women in the war. Tonoyama's hero Taiji replies that no, that the value of a woman's life is special to him. But he raped them, he said. And he was looking for one man with a frightening look, a resident of Okinawa, looking for, claiming that he must kill him.
And peach Momoko really liked Tsuruo, a guy with a guitar, working as a musician in one of the neighborhoods of Koza. Koza is the American incorrect name of the region "Goya".
In 1972, just two years before that, at the end of December 1970, there was a spontaneous large-scale popular uprising in Koza. The 1970 Koza rebellion was the cumulative anger of Okinawans over the 25-year occupation of the island’s facilities and territories and the status of the US military in Japan.
Satellite girls from the plane, actor Tonoyama Taiji also fought, but not in Okinawa, and the last three years of the war spent in the trenches on the Chinese front, believed that miraculously survived. Tonoyama’s hero Taiji is pleased to say that he knows all the brothels of Okinawa. Moreover, the girl Sunaoko in response to him mentions “the brothel of his youth” Tsuji. Clearly, she knows about Tsuji from the conversations of her father, Judge Kikuchi. The status of the Tsuji brothel was special, it was a place for public meetings of high-ranking samurai and wealthy merchants from the city. Naha, the largest city in Okinawa.
The director-puzzler, apparently, made the film with pleasure. Looks like he shot more for himself. But his innovation is here. It's a shared trust, a revelation of characters. In the Japanese mentality, there is no inclination to completely trust strangers, and even your own is not very. Here, despite the ticks of the ceremonies, the members of the generation of "parents" and confessed, and the reaction did not hide. Judge Kikuchi, after hearing from his fiancée Momoko the details of her meeting with the young man Tsuruo, interestedly sends her there again. I completely forgot, there is also a police commissioner, he also claims the paternity of Tsuruo.
Sunaoko, the 'little sister', the whole film with Tsuruo's notes in his hands, falling in love with the texts of his messages. . .
10 out of 10