الوادي Al-wadi 철원기행 Cheol won gi haeng בן זקן Ben Zaken

フタバから遠く離れて第二部

Futaba kara toku hanarete dainibu

ダリー・マルサン

Dari Marusan

ثمانية وعشرون ليالً وبيت من الشعر Thamaniat wa ushrun laylan wa bayt min al-sheir

Чайки Chaiki

مادرِ قلبْ امتی Madare ghalb atomi

水の声を聞く

Mizu no koe o kiku מכיוון היער Me’kivun ha’yaar המכה השמונים ואחת Ha'makah ha'shmonim ve'ahat © Kadokawa Corporation 炎上 Enjo Conflagration おとうと Kon Ichikawa Ototo Producer Hiroaki Fuji. Production company Daiei Film (Kyoto, In 1944, following the death of his father, the young Goichi Mizoguchi enters Japan). Director Kon Ichikawa. Screenplay Natto Wada, Keiji the famous Shukaku temple in Kyoto as a novice. The introverted young man 雪之丞変化Hasebe. Director of photography Kazuo Miyagawa. Production has a stutter and suffers humiliation as a result. After his only friend in the design Yoshinobu Nishioka. Costume Toshiaki Manki. Make- monastery dies, he befriends a cynical fellow student who opens his eyes up Masanori Kobayashi, Emi Ishii. Sound Masao Osumi. Music to the priests’ double standards and business acumen. The high priest has Yukinojo henge Toshiro Mayuzumi. Sound design Nobu Kurashima. Editor a lover, and the tourists who’ve been flocking to the temple since the end Shigeo Nishida. Restoration/director Masahiro Miyajima. of the war keep the monastery’s coffers full. Goichi, for whom the temple Restoration/sound Mototsugu Hayashi. represents beauty and truth as well as symbolising his late father’s dreams, Cast Raizo Ichikawa (Goichi Mizoguchi), Tatsuya Nakadai feels that the purity of Shukaku is in danger. In his attempts to protect the (Tokari), Ganjiro Nakamura (Dosen Tayama), Yoko Uraji (young temple, he becomes ever more lonely and desperate. His disturbed state woman), Michiyo Aratama (master of flower arrangement), leads him to commit an act of violence: he sets the monastery on fire. This Tamao Nakamura (prostitute), Yoichi Funaki (Tsurukawa), Kinzo complex psychological study of an outsider unfolds in a masterfully ex- Shin (assistant superior of the temple), Tanie Kitabayashi ecuted series of flashbacks.Enjo , which Kon Ichikawa considered one of (Goichi’s mother), Jun Hamamura (Goichi’s father). his best films, is based on Yukio Mishima’s bookThe Temple of the Golden Pavilion, which was inspired by the burning of a national shrine in 1950. DCP, black/white. 99 min. Japanese. Annette Lingg World sales Kadokawa Corporation

berlinale forum 2015 1 The kinkakuji (Kinkaku Temple) was a Japanese national shrine Kon Ichikawa was born in 1915 in Ujiya- and one of Kyoto’s most important tourist attractions. In 1950, mada (now Ise) in the prefecture of Mie, one of the temple’s students set it on fire. Enjo is the film version Japan. He spent much of his childhood of Yukio Mishima’s novel about this event, Kinkakuji (The Temple drawing and painting. Ichikawa has named of the Golden Pavilion, 1956). At the request of the temple priests, the Disney cartoon series Silly Symphonies the film changed the temple’s name to Shukaku. as one of the most important influences on his artistic development. In 1933, he began

© Kadokawa Corporation Kadokawa © working as an assistant in the animation The transience of outward beauty department of a film studio. He became an assistant director for feature films in 1935. He made his first Ichikawa knows that the old Japan is irretrievable. But he sees short animated film,Musume dojoji / A Girl at Dojo Temple, in 1945. that the conservative ideologues don’t want to believe it. In the Ichikawa then directed numerous feature films and documenta- middle of beautiful parks, the old temples still stand and centuries- ries, many of which were based on screenplays by his wife, Natto old Buddhas still smile, oblivious to the world, so they think they Wada. He started his own production company in 1973. In 2000, he can invoke them as ever, unchallenged by everything one does in received the Berlinale Camera award. Kon Ichikawa died in 2008. everyday life. But what really motivates the modern tourists who stand in front of these magnificent things? ‘Are they degrading this beauty to a profane business?’ asks the stuttering temple student Films in Enjo. ‘Can they be allowed to hypocritically admire a museum 1945: Musume Dojoji / A Girl at Dojo Temple (short film). 1948:Ha - piece to which they have long since had no inner tie?’ he wonders na hiraku / A Flower Blooms. 1949: Ningen moyu / Human Patterns. and sets alight the Golden Pavilion, a national shrine of Japan. 1950: Ginza Sanshiro / Sanshiro of Ginza. 1951: Ieraishan / Nightshade The case is authentic. The Japanese poet Yukio Mishima wrote a Flower. 1952: Wakai hito / Young People. 1953: Pu-san / Mr Pu. 1953: novel about it; Ichikawa chose the novel as the basis for his best Aoiro Kakumei / The Blue Revolution. 1953: Seishun Zenigata Hei- film. ‘To provide us all an example, the boy in Enjo set the great ji / The Youth of Heiji Zenigata. 1954: Okuman choja / A Billionaire. temple afire. That was a crime,’ says Ichikawa. ‘But my question is 1955: Kokoro / The Heart. 1956: Biruma no tategoto / The Burmese why this youth had to perpetrate this deed, why he could not do Harp (Berlinale Retrospektive 1990). 1956: Shokei no heya / Pun- otherwise. I will probably always be interested in such questions. ishment Room. 1957: Tohoku no zummutachi / The Men from Tohoku. This is the source of my work.’ 1958: Enjo / Conflagration. 1959: Kagi / The Key. 1960: Ototo / Her Enjo not only reveals more clearly than Ichikawa’s other films the Brother (Berlinale Forum 2015). 1961: Kuroi junin no onna / Ten Dark source of the director’s disquiet; the film also limitlessly displays Women. 1963: Yukinojo henge / An Actor’s Revenge (Berlinale Retro- his stylistic mastery for the first time. Photographed in Cinema- spektive 1993 / Berlinale Forum 2015). 1964: Tokyo orimpikku / To- scope by Miyagawa (known in the West only as the cameraman of kyo Olympiad. 1968: Seishun / Youth. 1973: Matatabi / The Wanderers. Kurosawa’s Rashomon), this film’s visual beauty can confidently 1976: Inugami-ke no ichizoku / The Inugami Family. 1977: Gokumon- be compared to the best results of the collaboration between An- to / Island of Hell. 1978: Hinotori / The Phoenix. 1980: Koto / Ancient tonioni and di Venanzo. Ichikawa’s optical gift is extraordinary. City. 1983: Sasameyuki / The Makioka Sisters. 1985: Biruma no tat- Perhaps he benefits from his prior training as a painter, although egoto / The Burmese Harp. 1988: Tsuru / Crane. 1994: Shijushichinin one will hardly discover in him ‘painterly’ compositions in the Eu- no shikaku / 47 Ronin. 1996: Yatsuhaka-mura / The 8-Tomb Village. ropean sense, as with Mizoguchi, for example. Ichikawa’s images 1999: Dora-Heita (Berlinale 2000). are emphatically photography. He prefers flat backgrounds with linear composition, whereby the sparse Japanese interiors offer him the most artful possibilities (they often recall Mondrian’s grids); the figures in the foreground are sharply contoured. ‘Atmosphere’ is nonetheless evoked, but it is hardly describable and at bottom does not develop from visual appearance, but from its meaning: a whiff of melancholy lies on the clearest pictures – a farewell-bid- ding melancholy rooted in the knowledge that outward beauty is fleeting and cannot prevent inner corruption. With Ichikawa, exte- rior footage, too, is usually static – hence the restrained coolness of the shots in Nobi, which makes the outrageousness of events at all depictable and conceivable in the first place. When he does let the camera move, he usually immediately unleashes it entirely. These are the emotional climaxes or vital explosions. In Japan, Ichikawa is famed perhaps all too exclusively for his formal qualities. People admire his taste, delight in his artificial constructions, and, I’m afraid, try to elude the provocation of his themes. A bit odd, they venture, but how perfectly staged! But these are self-protective evasions. They can’t hide that, however one may claim to feel pleased by his aesthetic charms, this direc- tor makes one uncomfortable – hellishly uncomfortable. Wilfried Berghahn, Filmkritik, No. 3, Munich 1963

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