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Kinji Fukasaku, El Cine De La Crueldad.Japan Cult Cinema 19

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Kinji Fukasaku, El Cine De La Crueldad.Japan Cult Cinema 19 Kinji Fukasaku, el cine de la crueldad.Japan Cult Cinema 19/29.05.06 Otra forma de ver cine Kinji Fukasaku, el cine de la crueldad.Japan Cult Cinema Viernes 19 20.30h Kinji Fukasaku, el cine de la crueldad (I) Policía contra el crimen organizado (Kenkei tai shoshiki boryoku / Cops v Thugs), de Kinji Fukasaku. Japón, 1975. 100’. V.O.S. en inglés y español electrónico. Sábado 20 20.30 h Kinji Fukasaku, el cine de la crueldad (II) Mafioso callejero (Gendai yakuza: hito-Kiro yota / Street Mobster), de Kinji Fukasaku. Japón, 1972. 92’. V.O.S. en inglés y español electrónico. Domingo 21 20.30h Kinji Fukasaku, el cine de la crueldad (III) Japan organized crime boss - Nihon boryoku- dan: Kumicho, de Kinji Fukasaku .Japon, 1969. 97’. V.O.S. en inglés y español electrónico. Viernes 26 20.30h Kinji Fukasaku, el cine de la crueldad (IV) Simpatía por los perdedores (Bakuto gaijin butai/ Sympathy for the Underdog), de Kinji Fukasaku. Japón, 1971. 93’. V.O.S. en inglés y español electrónico. Sábado 27 20.30 h Kinji Fukasaku, el cine de la crueldad (V) Codicia a la luz del día (Hakuchu no buraikan/ Greed in Broad Daylight), de Kinji Fukasaku. Japón, 1961. 82’. V.O.S. en inglés y español electrónico. Domingo28 20.30 h Kinji Fukasaku, el cine de la crueldad (y VI) Samurai del Shogun (Yagyû ichizoku no inbô/The Shogun's Samurai/ The Yagyu Conspiracy), de Kinji Fukasaku. Japón, 1978. 130’. V.O.S. en inglés y español electrónico. - 2 - Otra forma de ver cine La Cinemateca UGT, Casia Asia y Japan Foundation, presentan el ciclo: Kinji Fukasaku, el cine de la crueldad. Japan Cult Cinema, que tendra lugar en Sevilla del 19 al 29 de mayo. La muestra está integrada por films inéditos en Sevilla de este excepcional realizador japones, Kinji Fukasaku (1930-2003), una influencia determinante en el cine de Quentin Tarantino, Takeshi Gitano, John Woo, Takashi Mike y Kiyoshi Kurosawa, y prácticamente desconocido donde solo se ha estrenado uno de sus últimos largometrajes, Battle Royale (2000). Surgido del férreo sistema de estudios del cine japonés, Fukasaku, desarrolló casi toda su carrera bajo el signo de la compañía Toei, especializada originariamente en cine de samurais y de época, circunstancias que le permitió abordar sus películas, en su mayoría de ambiente contemporáneo y del género yakuza (la mafia japonesa) con una libertad temática y una originalidad formal absolutamente infrecuentes. Ya desde sus primeros films se revela el estilo duro y sin concesiones del director, una suerte de art brut que en el cine occidental sólo encuentra parangón en la obra de dos proscritos de Hollywood, Samuel Fuller y Don Siegel. Testigo de los cambios extremos que atravesó su país durante el siglo XX siempre hizo prevalecer en su cine una visión del mundo nihilista y desencantada con personajes marcados por la marginación social, la pobreza y la violencia. En el cine de Fukasaku, se puede llegar a matar o a morir por un plato de arroz, y sus yakuza no parecen haber elegido esa forma de vida, sino que el crimen siempre se plantea como su única opción. Formalmente, el cine de Fukasaku también se caracteriza por su violencia expresiva: una cámara en mano desasosegada, súbitos planos y movimientos del zoom, congelamientos de la imagen y un aprovechamiento del formato scope en todo su esplendor son algunos de sus rasgos de estilo, lo mismo que su temerario, altisonante uso de la música, que entre otras particularidades heredó luego Tarantino. “Mi contribución al desarrollo del cine japonés fue la abolición del star system”, declaró Fukasaku, “la tradicional película de yakuza pintaba una clara diferencia entre el bien y el mal. El público podía saber `por anticipado quién era el héroe y quién era el villano de acuerdo con los actores que tenía enfrente”. Fukasaku acabó con estos esteriotipos, borró las fronteras inmaculadas entre el bien y el mal y desacralizó los códigos de honor para exhibir, en cambio, la corrupción y el inmoderado instinto de destrucción del animal humano. - 3 - Otra forma de ver cine Filmografía: Batoru rowaiaru II: Chinkonka-Battle Royale II: Requiem (2003). Clock Tower 3 (2002). Batoru rowaiaru- Battle Royale (2000). Omocha-The Geisha House (1999). Abe ichizoku (1995). Chushingura gaiden yotsuya kaidan-Crest of Betrayal (1994).Itsuka giragirasuruhi-Triple Cross (1992).Hana no ran-A Chaos of Flowers (1988). Hissatsu 4: Urami harashimasu-Sure-Fire Death 4: We Will Avenge You (1987). Kataku no hito-House on Fire (1986). Shanhai bansukingu- Shanghai Rhapsody (1984). Satomi hakken-den - Legend of the Eight Samurai (1983). Jinsei gekijo - Theatre of Life (1983). Kamata koshin-kyoku - Fall Guy (1982). Dôtonborigawa - Lover Lost (1982). Makai tenshô - Samurai Reincarnation (1981). Seishun no mon - The Gate of Youth (1981). Fukkatsu no hi - Virus (1980). Ako-Jo danzetsu - Last of the Ako Clan (1978). Uchu kara no messeji - Message from Space (1978). Yagyû ichizoku no inbô - The Yagyu Conspiracy (1978). Doberuman deka- Detective Doberman (1977). Hokuriku dairi senso - Hokuriku Proxy War (1977). Shin jingi naki tatakai: Kumicho saigo no hi (1976).Bôsô panikku: Daigekitotsu (1976). Yakuza no hakaba: Kuchinashi no hana - Yakuza Graveyard (1976). Kenkei tai soshiki boryoku - Cops Vs Thugs (1975). Jingi no hakaba - Graveyard of Honor (1975). Shikingen gôdatsu (1975). Shin jingi naki tatakai: Kumicho no kubi (1975). Shin jingi naki tatakai (1974). Jingi naki tatakai: Kanketsu-hen - Battles Without Honor and Humanity 5: Final Episode (1974). Jingi naki tatakai: Chojo sakusen - Battles Without Honor and Humanity 4: Police Tactics (1974). Jingi naki tatakai: Dairi senso - Battles Without Honor and Humanity: Proxy War (1973). Jingi naki tatakai: Hiroshima shito hen - Battles Without Honor and Humanity: Deathmatch in Hiroshima (1973). Jingi naki tatakai - Battles Without Honor and Humanity (1973). Gendai yakuza: hito-kiri yota - Street Mobster (1972). Gunki hatameku motoni - Under the Flag of the Rising Sun (1972). Hito-kiri Yota: Kyoken San-kyodai (1972). Bakuto gaijin butai - Sympathy for the Underdog (1971). Tora! Tora! Tora! (1970). Chi-zome no daimon (1970). Kimi ga wakamono nara - Our Dear Buddies (1970). Kuro bara no yakata - Mansion of the Black Rose (1969). Nihon boryoku-dan: Kumicho - Japan Organized Crime Boss (1969). The Green Slime - Death and the Green Slime (1968). Bakuto Kaisan-shiki (1968). Kurotokage (1968). Kyokatsu koso Waga Jinsei - Blackmail Is My Business (1968). Kaisan shiki (1967). Kamikaze yarô (1966). Odoshi (1966). Hokkai no Abare-Ryu (1966). Showa saidai no kaoyaku (1966). Okami to buta to ningen (1964). Jakoman to Tetsu (1964). Gang domei (1963). Gyangu tai G-men - Gang vs. G-Men (1962). Hokori takaki chosen - The Proud Challenge (1962). Funky Hat no kaidanji (1961). Funky Hat no kaidanji: Nisenman-en no ude (1961). Fûraibô tantei: Akai tani no sangeki (1961). Fûraibô tantei: Misaki o wataru kuroi kaze - Greed in Broad Daylight (1961) - 4 - Otra forma de ver cine Kinji Fukasaku, el cine de la crueldad.Japan Cult Cinema, el ciclo - 5 - Otra forma de ver cine Codicia a la luz del día (Hakuchu no buraikan / Greed in broad daylight) Japón, 1961. 82’ Dirección: Kinji Fukasaku. Guión: Kan Saji. Productor: Oga Yoshifumu Música: Koichi Kawabe Fotografía: Ichirô Hoshijima Productora: Toei Tokyo Intérpretes: Tetsuro Tanba, Hitomi Nakahara. Considerado perdido hasta hace poco tiempo, el primer largo de Fukasaku fija las bases de su mejor cine. Un gángster planea robar la paga de un puesto del ejército estadounidense –el desprecio para con la milicia ocupante es proverbial– y para ello recluta un equipo de descastados: un inmigrante coreano, un soldado negro norteamericano y una rubia ninfoma, entre otros. El problema es que otra banda similar también tiene sus ojos fijos en el mismo botín y todo se convertirá en un carrusel de muertes y traiciones. Japan organized crime boss/ Nihon Boryoku-dan Japón, 1969. 97’ Director: Kinji Fukasaku. Guión: Kinji Fukasaku, Fumio Konami, Norio Osada. Productor: Koji Ota, Koji Shundo Música: Masanobu Higure Fotografía: Hanjiro Nakazawa Montaje: Osamu Tanaka Productora: Toei Co. Ltd. Intérpretes: Koji Tsura, Bunta Sugawara, Ryoehi Uchida, Noboru Anda. El mundo de los yakuzas debe enseñar sus cartas y decidir si se enfrenta o no al despiadado clan de Danno de Osaka, que quiere obtener el control absoluto del crimen en Japón. Personajes extremos empujados al límite de la moralidad. Simpatía por los perdedores (Bakuto gaijin butai/Sympathy for the Underdog) Japón, 1971. 93 min. Director: Kinji Fukasaku. Guión: Kinji Fukasaku, Fumio Konani, Hirô Matsuda. Productor: Koji Shundo, Tatsuo Yoshida. Música: Takeo Yamashita Fotografía: Hanjiro Nakazawa Montaje: Osamu Tanaka Produtora: Toei Co. Ltd. Intérpretes: Koji Tsuruta, Noburu Ando, Akiko Kudo. El film que inspiró a Boiling Point, de Takeshi Kitano. La isla de Okinawa, la última frontera del Japón, se convierte en el refugio de un gángster que acaba de salir de prisión. Con la ayuda de su banda, se erige en el rey de la isla, por entonces aún dominada por las bases de ocupación estadounidenses. Pero una banda rival, proveniente de Tokio, pretende tomar posesión del territorio. - 6 - Otra forma de ver cine Mafioso callejero (Gendai yakuza: hito-Kiro yota / Street Mobster) Japón, 1972. 92’ Dirección: Kinji Fukasaku. Guión: Kinji Fukasaku, Yoshiro Ishimatsu. Productora: Toei Co Ltd Música: Toshiaki Tsushima Fotografía: Hanjiro Nakazawa Intérpretes: Bunta Sugawara, Mayumi Nagisa, Noboru Ando, Asao Koike Noboru Mitani El personaje del título nació el 15 de agosto de 1945, el día de la capitulación del Japón frente al ejército estadounidense, un detalle particularmente significativo de este explosivo fresco sobre la codicia y la corrupción de posguerra. La lucha por la supervivencia se impone en las calles y el killer protagónico tiene a su lado una amante tan sedienta de sangre como Lady Macbeth. Policía contra el crimen organizado (Kenkei tai shoshiki boryoku / Cops v Thugs) Japón, 1975.
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