Sabtu, 23 April 2011
Nagisa Oshima - Tokyo senso sengo hiwa aka The Man Who Left His Will on Film (1970)
Nagisa Oshima's zen koan take on the issues of the revolutionary student movement. Some excellent period footage embedded into a highly elliptic and delusive narrative that keeps negating itself. Gentle pop-flavored soundtrack ty Toru Takemitsu. The trailer is not to be missed: it's even wilder than the movie itself!
Oshima Nagisa's The History of the Post Tokyo War / The Man Who Left His Will On Film is a Mobius loop of a film played over revolutionary youth, disillusioned with the fractured student movement of the late 60s in Japan. In what many consider Oshima's most challenging film, the director toys with ideas of authorship, memory, and identity, and uses these to examine the concept of a film within a film.
The Man Who Left His Will On Film examines a small group of radical film makers, who collectively pursue political activism through cinema. A member of the group, with a penchant for shooting "landscapes", ends his own life, while Motoki (the film's protagonist) chases after him only to witness the nameless film maker's suicide. More sooner than later this event is thrown into question as Motoki's identity becomes a murky vague thing, which is manipulated, by chance or unseen forces, to seemingly combine with the dead man from the beginning.
Filmed around the time of massive student demonstrations and radical left wing movements, The Man Who Left His Will On Film is a testament to Oshima's growing distaste for the petty and self-defeating activities of the next generation during the "Tokyo War". Of Oshima and the film, Maureen Turim says it "will construct images as sign systems of a dream logic, images deceiving in the concreteness of their representation, as the meanings invoked by them drift faraway from their everyday literal interpretations."