When Ishihara Shintaro died on February 1, 2022 at age 89, most obituaries focused on his career as a politician in Japan. He first served as a member of the House of Councillors (1968 to 1972) and then as a member of the House of Representatives (1972-1995) before becoming the Governor of Tokyo from 1999 to 2012. A controversial figure in his own country, Shintaro was famous for his ultra-nationalist stance on Japan and extreme right-wing views such as discriminating against Japanese-Koreans, the disabled, women, LGBT and other social minorities. He is now considered an early proponent of “hate speech” and often denied historical accounts of atrocities committed by the Japanese against the Chinese in the infamous Nanjing Massacre of 1937, which in Japan is the same as being a Holocaust denier. What is most surprising about Shintaro, however, is his earlier career as an author and highly successful screenwriter for movie studios like Nikkatsu, Daiei and Shochiku. His critically acclaimed first novella, Taiyo no Kisetsu (English title: Season of the Sun), was published in 1955 and he adapted it into a film for director Takumi Furukawa. It became a box office sensation and inspired several successors in a film movement that became known as the “Sun Tribe” (aka Taiyozoku) movies.
Continue readingTag Archives: Nobuhiko Obayashi
The Haunted Cornea

When Nobuhiko Obayashi’s Hausu (English title: House) opened in Japan in 1977, it proved to be a surprise hit with audiences but not Japanese film critics and it didn’t attract any attention in the U.S. until it was rediscovered in 2009 as possibly the weirdest WFT cult movie since El Topo (1970), Eraserhead (1977) or Repo Man (1984). Originally intended for teenagers, particularly girls, House pits a bunch of young female schoolgirls against a demonic entity and the result is a frenzy of nightmarish images including flying decapitated heads, a cannibalistic piano, a satanic cat, and laughing watermelons to name a few. Obayashi’s subsequent film, Hitomi no naka no houmonsha (English title: The Visitor in the Eye, 1977) isn’t nearly as wild and raucous but it shares the same demented fairy tale ambiance of House and was overshadowed by its predecessor.
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