By Jake Howell jake.howell@utoronto.ca

Countdown to Cannes: Takashi Miike

TAKASHI MIIKE

Background: Japanese; born Yao, Osaka, Japan, 1960.

Known for / style: 13 Assassins (2010), Ichi the Killer (2001), Audition (1999); an eclectic promiscuity of genre play, including martial arts extravaganzas, family-friendly films, and crime dramas; excessive, cartoonish violence and sexual themes; releasing some titles directly-to-video.

Notable accolades: In his home country, the Japanese Professional Movie Awards have been kind to Miike, handing him five Best Director wins (1997’s Rainy Dog and Young Thugs: Innocent Blood, 2000’s The Guys from Paradise, 2001’s Visitor Q and Ichi the Killer), a Best Film nod (Ichi the Killer), and finally the title of Movie King of the 1990s in 2001. Outside of Japan, Miike snagged both a FIPRESCI prize and the KNF Award for Audition (the KNF Award, oddly, is given to “the best feature film that has yet to find distribution within the Netherlands”). In 2010, Venice gave a Future Film Festival Digital Award (Special Mention) to Miike’s 13 Assassins.

Previous Cannes appearances: Miike has played the Croisette twice: once in Competition (2011’s 3D Hara-Kiri: Death of a Samurai) and once out of Competition (For Love’s Sake, 2012). Hara-Kiri was the first 3D film ever to screen in Competition.

Film he’s bringing to Cannes: Wara no Tate (Shield of Straw), a police thriller based on Kazuhiro Kiuchi’s best-selling novel of the same name. Takao Osawa (from Japanese TV show Jin) and Nanako Matsushima (I am Mita, Your Housekeeper) star as two cops tasked with escorting a convicted killer across Japan. Getting in the way are ruthless bounty hunters, eager to cash in on the head of the killer (played by Tatsuya Fujiwara, Death Note).

Could it win the Palme? While no director is truly exempt from winning the Palme d’Or, it would appear Miike’s latest thriller has the Japanese equivalent of “zilch” at taking home the prize. Cannes is not exactly known for awarding by-the-numbers action movies (2011’s Best Director-winning Drive resists genre conformity), and the film is released today in Japan—the latter point hurting Miike’s chances in the long run. The film may not be Miike’s best work: Time Out Tokyo gave the film two stars (out of five) on April 18, writing: Wara no Tate is “slick, empty, and rather dim.” If a local critic can’t get down with Miike’s latest, it ain’t looking good for the rest of us. The Japan Times review of the film is slightly sunnier (giving Miike three out of five stars), but that’s still less than stellar. If Miike has a friend on the jury, it’s director Naomi Kawase—a Japanese compatriot who may have a hell of a time convincing her fellow members that Wara no Tate is worth its weight in gold. Given her influences, though, that seems highly unlikely.

Why you should care: Miike releases so many films that it’s hard to get overly excited for a reportedly lesser entry. Still, Miike has produced at least one masterpiece in his prolific career (13 Assassins tops out at 96% on Rotten Tomatoes). Either way, with an explosive trailer and a strong cast, genre fans can look forward to a fun blitz through urban Japan. Wara no Tate could be just a good ol’ time at the movies, not the arthouse favorite that the Competition would ordinarily prize. And there’s nothing wrong with that.

One Response to “Countdown to Cannes: Takashi Miike”

  1. prunktanner says:

    A magician, for sure.

Quote Unquotesee all »

“Most of these women were in their early twenties. Most of them refused to go any further with him, but a few went to dinner, or to some sort of casting situation, or to someplace private… if the stories were just about some crazed sex addict who approaches thousands of women on the street trying to get laid, I wouldn’t be posting this now. I don’t want to be attacking every Hollywood douchebag who hits on countless women. That type of behavior isn’t cool, but I think it’s important to separate douchebaggery from any kind of sexual coercion. But the women I talked to who DID go someplace private with Toback, told stories that were worse than the women only accosted on the street… So I did what I could do in my impotent state – for over twenty years now, I’ve been bringing up James Toback every chance I could in groups of people. I couldn’t stop him, but I could warn people about him… I’ve been hoping the Weinstein/O’Reilly stuff would bring this vampire into the light (him and a couple others, frankly). So I was happy today to wake up to this story in the L. A. Times.”
~ James Gunn

“BATTLE OF THE SEXES: Politics and queerness as spectacle/spectacle as politics and queerness. Pretty delightful, lovely, erotic. A-

“Not since EASY A and CABARET have I seen Emma Stone give a real sense of her range. Here, she has pathos and interiority and desire. I love the cinematography and the ways in which the images of the tennis icons are refracted and manipulated via various surfaces/mediators. Also, wild how a haircut is one of the most erotic scenes in cinema this year. Spine tinglingly tactile that feels refreshing. Proof that *cough* you don’t need to be ~graphic/explicit~ to be erotic *cough*. Also, it made me want to get into tennis. Watching it, at least.

“There are interesting touches and intimations as to the cinematic nature of sports, & unpacking the formal approach of broadcasting sports.Also, I was here for Sarah Silverman smoking. And also, hi Mickey Sumner!! It’s a really interesting film about the ways in which public spectacle is never apolitical, and how spectacle is prone to assignation.

“There’s this one other scene from BATTLE OF THE SEXES that I love, and it’s the one in the bar. You see Billie looking after Marilyn as she dances. Through a crowd. There’s a paradoxical closeness and distance between them. In the purple light, and the kitschy decor, everything is distorted. But Billie catches a glance and you can feel the nervous swell inside.”
~ Kyle Turner