"The stories in The Beautiful One Has Come have a universal appeal but will strike a familiar note in particular with those who have spent considerable time outside their comfort zones." (Wyatt-MacKenzie Publishing)
By Sharona Moskowitz (Fukuoka-ken, 2000-01) for JQ magazine. Sharona works at a literary agency in New York City. She is interested in fresh, new voices in fiction and creative nonfiction.
I began reading Suzanne Kamata (Tokushima-ken, 1988-1990)’s new collection of short stories with no idea what to expect and a sense of up-for-anything enthusiasm. Luckily, that feeling stayed with me throughout the collection and renewed itself automatically as I approached each new story.
There’s an enjoyably uncomfortable tension contained within the pages of The Beautiful One Has Come and it’s precisely that tension, paired with Kamata’s ability to glide between narrative points of view, that makes this collection so strong. The characters who inhabit the pages feel so true I could practically hear their pulses.
The physical settings of the stories vary from Cuba to Egypt to France to Japan among other countries, but the characters seem to inhabit spaces all their own: their minds are the true sites of conflict. The stories deal mostly with women in various states of transition; feeling like outsiders while negotiating their own identities, striving for something just out of reach, or trying to come to terms with loss. There is the foreign housewife who longs for the comforts of her native land, the elderly artist whose husband wrongfully gets the credit for the paintings she has created and the Japanese girl who is obsessed with studying abroad in Egypt.
Though these profiles might sound familiar, each story is buoyed by unique and unexpected details which keep the characters from sinking into stereotypes.
Go Morita in a scene from 'The Temple of the Golden Pavilion' at New York's Lincoln Center Festival. (Stephanie Berger)
By Lyle Sylvander (Yokohama-shi, 2001-02) for JQ magazine. Lyle is entering a master’s program at the School of International and Public Affairs at Columbia University (MIA 2013) and has been writing for the JET Alumni Association since 2004. He is also the goalkeeper for FC Japan, a NYC-based soccer team.
In 1950, a young Buddhist monk committed a notorious act of arson and destroyed the ancient Kinkakuji Temple in Kyoto, Japan. Yukio Mishima, Japan’s preeminent novelist at the time, fictionalized the events in Kinkakuji, published in 1956 and translated into English as The Temple of the Golden Pavilion in 1959. While the actual arsonist was diagnosed with paranoid schizophrenia, Mishima presented an elaborately detailed psychological study of a disturbed man, incorporating elements of Buddhist and ancient Greek philosophical reflections on the impermanence of beauty and the conflicts between idealism and reality. The novel helped cement Mishima’s worldwide literary reputation and inspired numerous adaptations, including an opera, a modern dance ballet and two film versions.
Now, the director Amon Miyamoto, previously represented in New York by his production of Stephen Sondheim’s Pacific Overtures, has adapted the story into a full-fledged theatrical production. Having premiered last year at Miyamoto’s Kanagawa Arts Theatre (KAAT) in Yokohama, the production was presented intact by the annual Lincoln Center Festival in New York from July 21-24 with its original cast, led by J-pop star Go Morita of the boy band V6.
In presenting his version of the story, Miyamoto (who co-wrote the script with Chihiro Ito) relies on an arsenal of visual conventions, from multimedia projections to Western theatrical blocking to Japanese austerity. Most of the play is presented on a wooden stage suggestive of an old classroom, a fitting visual component of the temple grounds’ claustrophobic enclave. Mizoguchi, the monk’s name in Mishima’s version, is played by Morita as an awkward stutterer who creates a vibrant interior world at odds with his disappointing reality.
Jen Wang (Miyagi, 2008-09) created the alias “Hibari-sensei” for her Japanese pop culture blog, Gaijin Teacher Otaku, after her students called her by the name of a character she cosplayed. She also writes for J-music website Purple SKY.
Since there have been a couple posts here about JAPAN CUTS film festival in New York, I thought I would write about a Japanese movie I saw at the Asian Film Festival of Dallas last week. The festival was in its 10th year and ran from July 14-21. Among the Japanese films screened was the 2010 live-action adaptation of the popular shoujo manga series, Kimi ni Todoke (in English, From Me to You).
Haruma Miura as Shota Kazehaya and Mikako Tabe as Sawako Kuronuma
Filled with a young actors, the movie seemed like a typical high school romance in which shy loner Sawako Kuronuma, who is made fun of for her resemblance to Sadako of The Ring, catches the eye of class heartthrob Shota Kazehaya. However, it is more a story about Sawako coming out of her shell and forging tight bonds with the people who reach out to her. The muted colors and leisurely pace make the film light and gentle, yet there are moments that remind us that adolescence years can contain heartache. More importantly, Kimi ni Todoke reminds us that a little kindness can go a long way.
For a complete review of the film, click here.
"Brimming with potent imagery, the novel is suffused with a generous dose of personal observation and philosophical musing, much of which sounds strikingly contemporary." (Random House)
By Sharona Moskowitz (Fukuoka-ken, 2000-01) for JQ magazine. Sharona works at a literary agency in New York City. She is interested in fresh, new voices in fiction and creative nonfiction.
A former Japanese colleague of mine once described his homeland to me as an “island of repression.” He spoke with mixed emotion of the burdensome pressure Japanese feel to fulfill their cultural and societal duties and how his lifelong dream was to escape for a year and live abroad. He lamented his kinsmen’s gradual loss of “Japaneseness,” fearing that despite the superficial Westernization, or perhaps because of it, Japan was barely keeping up with the rest of the world. Interested to hear more I pressed him to elaborate. He shifted his eyes downward, paused a moment, and took a long deep breath before finally responding, “Maybe…it’s complicated.”
Complicated indeed. David Mitchell’s historical novel, The Thousand Autumns of Jacob de Zoet which takes place at the turn of the 19th century, paints a vivid portrait of a bygone Japan with its rugged landscape, samurai lords and characters who commute by horse and palanquin. Medicine is administered in the form of crude herbal concoctions and the natural world is generally viewed through a lens of superstition. Nevertheless, those who know Japan well will recognize a familiar current running throughout the narrative. To read the book is to get a feel for the seeds of what would eventually flower into the complexity of modern day Japan as we know it.
The story is set near Nagasaki on the island of Dejima where the eponymous hero lives and works for a Dutch trading company. Dejima has been designated a Dutch trading post and its foreign denizens are strictly forbidden from entering the mainland, their interactions with the Japanese governed by rigid rules and careful monitoring. Jacob’s original plan was to come to Japan for five years, accrue a nice fortune and return to Holland to marry his fianceé Anna. His plan, however, is thrown off kilter by unforeseen complications including dubious business practices, a bleak future and most profoundly, his burgeoning secret love for Orito Aibagawa, a Japanese midwife on the island. Orito is highly educated and hardy, unlike the other women we encounter in the novel. Something of a feministic anachronism, she is more concerned with scholarly pursuits than domestic life. With her ironclad will and opinions expressed without equivocation, one imagines that even today she would stand out in Japanese society. (And due to her strong character she still wouldn’t care.)
Orito’s physical appearance is marred by a burn scar on her left cheek, putting her at a considerable disadvantage in finding a suitable Japanese marriage partner. To Jacob, though, her beauty is unique; he is unfazed by her scar and perhaps even more intrigued with her because of it. Unfortunately, he knows that as a foreigner she is entirely off limits to him. Captivated by her exoticness, he ponders, “to what God would a Japanese midwife pray?”
Meat Monster: "Oishisou! (de ha nai)"
Current Mie JET Patrick St. Michel shared the below about his recent “Meat Monster” review in Esquire Magazine, which JETwit believes is very much worth your time to read.
An Unexpected Burger Benefit of Life in Japan
Posted by Patrick St. Michel (Mie-ken, 2009-present).
Having now lived in Japan for nearly two years, I’ve discovered a host of benefits—from convenient public transportation to a copious amount of vending machines—that come with residing in this island nation. Recently, however, I encountered a completely unexpected benefit—one that involved consuming—in a single sitting—the FDA-recommended caloric intake for a herd of plus-size elephants.
Prior to joining JET, I attended—and graduated from—Northwestern University’s Medill School of Journalism. My pre-JET life also included working at three newspapers, an online music site, and an online magazine that I co-founded (http://www.northbynorthwestern.com). One of the friends I made along the way now works at Esquire magazine. Word had apparently spread stateside that Burger King Japan was launching a medically ill-advised burger aptly dubbed the “Meat Monster.” Knowing that I live in Japan and generally don’t give much thought to my arteries’ continuing ability to function, my friend asked if I would write a review of the Meat Monster for Esquire. Fortunately, I had inadvertently prepped for this unexpected assignment, having just reviewed McDonald’s “Mega Teriyaki” in my blog about life in Japan—http://www.japantrick.wordpress.com/. (I’ve also previously reviewed McDonald’s line of Big America burgers)
Some 1,160 calories and 2,290 milligrams of sodium later, I filed my Esquire story—http://www.esquire.com/blogs/food-for-men/burger-king-meat-monster-042611
As a postscript, my plan is to pursue a post-JET writing career in Japan. Toward that end, if anyone has suggestions—or knows of openings at traditional or online publications or public relations/marketing positions—I would love to hear from you! Reach me at mailto:patrickstmichel@gmail.com. If you’re still not sure about me, learn more at http://www.patrickstmichel.com, and if you’re interested in the Japanese music scene, follow my blog—http://www.makebelievemelodies.wordpress.com/.
JETAA DC Film Festival: How was it?
Events, Film, JETAA Chapters, Reviews, Uncategorized 
Comments Off
On December 3 and December 5, JETAADC held its first ever JETAA DC Film Festival. And they did it in style at the Freer Gallery of the Smithsonian Institute. Here’s a write-up of the event courtesy of JETAADC.
In an attempt to increase awareness of the Japan Exchange and Teaching (JET) Program and to showcase Japanese or Japan-related films to American audiences, the Japan Exchange and Teaching Alumni Association of Washington, DC (JETAADC) partnered with the Freer Gallery of the Smithsonian Institution to screen two films from December 3-5, Linda Linda Linda and The Harimaya Bridge.
On Friday, December 3, JETAADC showed Linda Linda Linda, a quirky comedy about a band of four girls and their rehearsals leading up to their talent show performance during school festival. Prior to the film, JETAADC Vice President Nick Harling provided some opening remarks, discussing the JET Program, JETAADC, and adding a bit of context to the film. Approximately 130 people attended the show on December 3, and after the film, about 40 audience members congregated at a local bar to continue discussing the film and Japanese culture.
On Sunday, December 5, JETAADC and the Freer Gallery screened The Harimaya Bridge, written and directed by Aaron Woolfolk, a JET alum from Kochi-ken. The film follows an American man who must travel to rural Japan to claim some important items belonging to his late son, from whom he was estranged. While there, he learns several secrets his son left behind. Mr. Woolfolk attended the screening, which drew over 200 people from the greater DC metro area, including representatives from local media. After the film, Mr. Woolfolk responded to questions from the audience regarding his inspiration for the film, the process of making the film, and what it was like working in Japan, both as a teacher and a filmmaker. About 50% stayed for the Q & A.
Afterwards, Mr. Woolfolk said, “It was a special honor to have the film shown at the Smithsonian Institution, and I am especially grateful to JETAADC for playing a pivotal role in making that happen. Moreover, spending time with the DC alumni before and after the screening reminded me how very fortunate and proud I am to be a part of the JET community.”
JETAADC President Maurice Maloney added, “JETAADC was honored to have Aaron Woolfolk and The Harimaya Bridge as part of our film series. In two and a half hours at the Freer Gallery, the film, along with Aaron’s discussion, conveyed the JET experience to a broader audience than we could have reached in months.”
Maloney added, “In light of discussed budget cuts to the JET Programme and JET Alumni Associations across the globe, it is more important than ever for JET Alumni Associations to showcase the breadth of their alumni and the positive effects they have on their communities.”
Click “Read More” to see photos from the event, courtesy of JETAADC.
James Kennedy (Nara-ken, 2004-06), author of the acclaimed young adult novel The Order of Odd-Fish, has a great review in the Wall Street Journal of a sugoku omoshiroi book titled, How I Killed Pluto, And Why It Had It Coming by professor of astronomy Mike Brown.
Here’s the link: http://online.wsj.com/article/SB10001424052748704243904575630683559145518.html#articleTabs%3Darticle
JET alum Lars Martinson recently released his follow-up graphic novel Tonoharu: Part 2. Here’s the review by Mark Frauenfelde of BoingBoing:
“Tonoharu Part Two: Excellent graphic novel about an English teacher in Japan”: http://www.boingboing.net/2010/11/10/tonoharu-part-two-ex.html
(Editor’s note: I have a copy of Tonoharu: Part 1, and every time I show it to a fellow JET alum and they start reading it, they end up reading the whole thing (which takes about 15 minutes). It’s really terrific and very unique.)
Tom Baker (Chiba-ken, 1989-91) is a staff writer for The Daily Yomiuri. As another example of JET ROI, he is one of at least four former JETS to have been on the newspaper’s staff in recent years. He usually writes for DYWeekend, the arts and leisure section. You can follow Tom’s blog at tokyotombaker.wordpress.com.
Recently he interviewed two members of the cast of “The Last Airbender” movie during their promotional visit to Tokyo, asking them for their views on the “racebending” controversy surrounding their film. He also covered an insect show now running at a Tokyo museum, reviewed the manga “Otomen,” and weighed in on a couple of other movies now playing in Japan. Here are some excerpts:
“Last Airbender”
In the United States, some fans of the anime-style cartoon on which the movie is based have protested against the casting of Jackson Rathbone and Nicola Peltz, who are white, in roles the fans saw as Asian.
Asked to comment on that, Rathbone said: “I originally was a finalist for Prince Zuko [a Fire Nation role that went to Slumdog Millionaire star Dev Patel]. Almost a year later, I was brought back in for the character of Sokka…I think what they were really looking for was the qualities that people represent, not so much focusing on race…All these characters [in the cartoon] have so many different features, you can’t really say that they are one race…It’s a shame that people really focus on the race thing and they don’t understand that it’s a story for everyone.”
“And there are over 120 different types of people in the film,” Peltz added.
“In terms of a big-budget film, it’s the most ethnically diverse cast there’s ever been,” Rathbone agreed.
Read the rest of the interview here.
“Insects festival”
Open your window on a hot summer day and you may hear a sound that caught the ear of haiku poet Matsuo Basho in the 17th century: the voices of cicadas, seeping into the rocks. Of course, Japan today is a lot more urbanized than it was in Basho’s time, and cicadas are more likely to sing against a background of asphalt and cement. Yet year after year, the buzzing bugs never fail to show up, even in the heart of Tokyo.
Visitors to Insects Festival, an exhibition now running at the Edo-Tokyo Museum in Ryogoku, Tokyo, are reminded of such persistence right away with a display of six-legged critters that live in three different Tokyo zones: mountains, fields and downtown areas.
While city-dwellers often resent sharing space with the likes of cockroaches and ants, the emphasis of this show is on seasonal outdoor insects whose diverse shapes, bright colors and occasional songs actually enhance city life…
Read the rest of the article here, or visit the exhibition’s site here.
“Otomen”
Anyone writing a graduate thesis on the presentation of gender in Japanese pop culture will find abundant material in the manga series Otomen. Readers looking for laughs will also find what they seek in Otomen, but rather less abundantly.
The main characters are a trio of high school students, with the focus on Asuka (a boy who has a name more common for girls), who is in love with Ryo (a girl who has a name more common for boys). Their would-be romance is complicated by the constant presence of their friend Juta, who tries to play cupid, but is more often a third wheel.
Asuka is the captain of the school kendo team, and is admired by everyone as a “real man.” But he is secretly an “otomen,” a boy who is into girly things, such as cute stuffed animals and delicate pastries. He is at least as skilled at cooking and sewing as he is at sports, but he keeps that side of himself hidden. Ryo is Asuka’s mirror image in that she has been raised by her socially inept father to follow in his footsteps as a martial arts champion, but she strives to put up a feminine front at school. Juta has a secret, too, as he is actually a best-selling manga artist who is using the couple as a model for his stories…
Also playing…
You can read Tom’s review of “Inception” here, and his review of “Zombieland” here.
Tom Baker (Chiba-ken, 1989-91) is a staff writer for The Daily Yomiuri. He usually writes for DYWeekend, the paper’s arts and leisure section. You can follow Tom’s blog at tokyotombaker.wordpress.com.
Recently he reviewed movies, “Crazy Heart” and “Brothers.” He found poetry in both of them. Here are some excerpts:
“Crazy Heart”
Country music singer-songwriter Bad Blake (Jeff Bridges) smokes like a chimney, drinks like a fish, sweats like a pig, and urinates into a plastic jug while driving from town to town. As I watched him perform under hot lights at a variety of small and unglamorous venues in the movie Crazy Heart, I could almost smell him. He didn’t smell very nice.
…
On the bright side, Bad’s personal problems are grist for the mill. One of his most popular songs looks back on a dissipated life with the refrain, “Funny how fallin’ feels like flyin’/for a little while.”
Anyone who doubts that country music is the primary home of modern American poetry should meditate on that line. “Funny how fallin’ feels like flyin’” is alliterative and catchy, but also trenchant. And Bad has flown and fallen quite a way…
Read the rest of the review here.
“Brothers”
In William Shakespeare’s play about his life, King Richard II is forced to surrender his crown to his usurper cousin Henry IV. In doing so, Richard compares himself and Henry to two buckets in a well: “The emptier ever dancing in the air,/The other down, unseen and full of water:/That bucket down and full of tears am I,/Drinking my griefs while you mount up on high.”
The title characters in Brothers, although they dwell in an American suburb rather than an English castle, are not unlike the tragic royal cousins.
Sam (Tobey Maguire) is an upstanding husband, father and U.S. marine who is about to be separated from his family for a tour of duty in Afghanistan. On the eve of Sam’s departure, his surly brother Tommy (Jake Gyllenhaal), a ne’er-do-well with a drinking problem, rejoins the extended family after a stint in prison…
Read the rest of the review here.
Tom Baker (Chiba-ken, 1989-91) is a staff writer for The Daily Yomiuri. He usually writes for DYWeekend, the paper’s arts and leisure section. You can follow Tom’s blog at tokyotombaker.wordpress.com.
He recently interviewed Shane Acker, director of the animated film “9” and Richard Kelly, who most recently directed “The Box,” a thriller starring Cameron Diaz. He also reviewed the manga “Hot Gimmick.” Here are some excerpts:
Shane Acker
[The characters in the movie are all animated dolls with numbers instead of names.] A different personality aspect is dominant in each one. Rigid orthodoxy is represented by leader 1 (voiced by Christopher Plummer), creativity by inventor 2 (Martin Landau), bravery by warrior 7 (Jennifer Connelly) and so on. Elijah Wood does the voice of 9, the truth-seeker of the group, and John C. Reilly voices his timid friend, 5…
The most amusing character is 8 (Fred Tatasciore), who embodies sheer physicality. In one scene, he achieves a moment of strange bliss by stroking his head with a large magnet, an activity that Acker called “degaussing himself.”
“In film school, especially in the days of video, if you had a videotape and you wanted to just wipe it clean, there’s a degaussing machine, which is basically like a supermagnet, and you would wave the videotape over the degausser and it would just take off all the footage that’s on there,” Acker explained. “So that’s the kind of idea, he’s sort of wiping his memory banks. You realize why he’s so dumb.”
Richard Kelly
Imagine that a mysterious stranger has just handed you a wooden box with a red button on top. He explains, rather convincingly, that if you push the button two things will happen: Someone whom you don’t know will die, and you will receive a payment of 1 million dollars…
In writer-director Richard Kelly’s movie The Box, based on a short story by Richard Matheson, the stranger’s name is Arlington Steward (Frank Langella), and he is conducting a high-stakes social experiment by visiting the homes of middle-class American couples and offering them the choice of pushing the button or not.
“Tonally this movie crosses a lot of genres,” Kelly, who previously wrote and directed Donnie Darko (2001) and Southland Tales (2006), told The Daily Yomiuri in a recent phone interview. “It’s a science fiction film, it’s a domestic melodrama, it’s a suspense film, there’s elements of horror in it, and there’s also some black comedy inherent…The conceit of pushing this button on this contraption and someone you don’t know dying is very mischievous. Anyone who would build this contraption and make this offer is smirking when they do it. And Matheson was smirking, I’m sure, when he wrote this short story.”
…[The story is set in the 1970s because] the mysterious stranger is a character type whose day has passed, according to Kelly. “When I set out to write this screenplay, I initially was trying to figure out how to make it work present-day, but when you introduce modern technology and the Internet, social networking sites, Google maps, satellite maps, reality TV, just our media-saturated world that we live in…there is no such thing as a real stranger anymore. Everyone can be found on the Internet. You can find anyone’s house, you can go onto a satellite map with a 360-degree view.”
“Hot Gimmick”
[In this manga, a high school girl’s seriously unhealthy relationships with her would-be boyfriends is presented as perfectly normal.]
For example, the day after one of her suitors is unable to reach her by phone (for reasons that are no one’s fault), he slaps her across the face so hard that bystanders rush to offer first aid. But Hatsumi chases after him to make the following speech, which he receives in stony silence: “I’m sorry. For being so clueless. For…never being able to get your calls…I’m so sorry. I’m really sorry. For not understanding how you feel about me. I’m sorry.”
Later, when one of the boys proposes to her, she thinks, “Maybe if we got married, he’d finally be nice to me.”
She seems unaware of some basic principles of healthy human interaction, such as this simple standard: If a friend arranges for you to be gang-raped, that person is not really your friend.
Tom Baker (Chiba-ken, 1989-91) is a staff writer for The Daily Yomiuri. He usually writes for DYWeekend, the paper’s arts and leisure section. You can follow Tom’s blog at tokyotombaker.wordpress.com.
His two latest articles are movie reviews, one of “The Wolfman,” and one that discusses “Moon” and “Shutter Island” together. Here are some excerpts:
THE WOLFMAN
In most werewolf movies nowadays, it is standard to show a person’s nose and jaw elongating into a snaggletoothed lupine muzzle when they transform from human to wolf. [Makeup artist Rick] Baker has done that before, but in this film he pays homage to Lon Chaney Jr.’s furry but still humanoid look in the 1941 film The Wolf Man, on which the new film is based. Then and now, the title monster has modest fangs, a woolly forehead, a beard that goes up to his eyes and a nose that darkens at the tip.
Our first glimpse of Baker’s version of this classic face is literally over in a flash, as we see it illuminated by a pistol shot during a nocturnal battle. (In case you missed it the first time, the scene repeats a moment later, with a larger gun.) Later scenes reveal the monster’s face at greater length.
MOON and SHUTTER ISLAND
Teddy Daniels and Sam Bell are men who love their wives. They are also the respective protagonists of two new movies, Shutter Island and Moon, that take us far enough inside the characters’ heads to see each man passionately embracing his wife in a dream.
But when Teddy awakes, he finds himself trapped on his movie’s titular island, unhappily remembering that his wife has been dead for years. And when Sam awakes, he finds himself trapped on his movie’s titular heavenly body, unhappily remembering that his wife is on Earth, and he has not seen her for many months.
Teddy (Leonardo DiCaprio) is a U.S. marshall investigating the disappearance of an inmate from a prison hospital for the criminally insane on Shutter Island, Mass., in the 1950s. Sam (Sam Rockwell) is the solitary human staffer of a mining facility on the dark side of the moon, possibly in the 2050s.
The settings are very different, but both are ominous, isolated places in which intense psychological drama will unfold. In both movies, the protagonists have high-stakes confrontations with themselves, and with the powers that be.
Read the rest of the review here. The review is deliberately spoiler-free, but you can read Tom’s further comments about the endings of “Moon” here and “Shutter Island” here.
Tom Baker (Chiba-ken, 1989-91) is a staff writer for The Daily Yomiuri. He usually writes for DYWeekend, the paper’s arts and leisure section. You can follow Tom’s blog at tokyotombaker.wordpress.com.
Last Friday he had two movie articles in the paper: a review of “Sherlock Holmes,” which you can read here, and an interview with martial artist Jon Foo, who stars in a new movie based on the “Tekken” series of video games. Here is an excerpt:
“My mom, she does judo, and my dad did karate, so I learned a lot from them growing up,” Foo told The Daily Yomiuri in an interview in Tokyo last week. “My mom used to do throws; tomoenage was her favorite. She’d pick me up, kick me in the air and I landed on the bed. And I’d do conditioning. And then I moved on to kung fu, tae kwon do, Muay Thai. Just take the best from each and mix it [considering] whatever suits my body, and I’ll take that and I’ll use that to perform to my best.”
Foo, 27, has had supporting roles in action movies in several countries, but Tekken puts him in the lead for the first time.
He plays Jin Kazama, a young man who makes a living as a fleet-footed courier in a postapocalyptic world ruled by corporations, one of which is Tekken (a name that translates as “iron fist”)…
…Tekken’s top boss, Heihachi Mishima, is an elderly man–but a mean fighter–whose shiny bald dome is framed by an erect ruff of gray hair that looks like a set of tail fins from a 1950s Cadillac. The hair and makeup people did a hilarious job of replicating this look on actor Cary-Hiroyuki Tagawa, but they were more restrained when it came to just hinting at Jin’s swept-back hairstyle with Foo. We’re probably meant to laugh at some parts of this film, but Jin has to hold the audience’s sympathy.
Read the rest of the article here.
Tom Baker (Chiba-ken, 1989-91) is a staff writer for The Daily Yomiuri. A big part of his beat is the Pop Culture page, which covers manga, anime and video games. You can follow Tom’s blog at tokyotombaker.wordpress.com.
He also writes movie reviews. Here is an excerpt from a recent review of “I Love You Phillip Morris,” in which Jim Carrey and Ewan McGregor play Steven and Phillip, the lead characters in a gay romantic-comedy/prison-break film that is based on a true story. It opens March 17 in Britain and April 30 in the United States, but is already playing in Japan.
McGregor’s sweet and naive Phillip is totally believable. Harmlessly meek and far too trusting, yet somehow uttering the lion’s share of the laugh lines, he makes you want to protect him, which is also how Steven feels. “You only see the good in people,” marvels Steven, whose own outlook is far more cynical.
Carrey, who does appear in good movies now and then, is not always as believable in his role, but this is appropriate since he plays a chronic fake who is always trying on new identities and tells lies to everyone he meets. Late in the movie, when Steven tries to prove his love by revealing his true self to Phillip, he can’t really do it.
Steven is a criminal who went to prison because he belonged there. But his scams are amusing because his wealthy victims are entertainingly depicted (fairly or not) as crude, pompous fools. And his various prison escapes are amazing. In one, he uses felt-tip markers and toilet water to dye his prison uniform green, enabling him to walk right out in the guise of a visiting doctor…
Read the rest of the article here.
By Steven Horowitz (Aichi-ken, 1992-94)
Just wanted to share that I had a really terrific dinner the other night at Kajitsu (www.kajitsunyc.com), a new and very unique Japanese restaurant on E. 9th Street in NYC, thanks to professional translator Jamie Graves (Saitama-ken, 2002-03) who not only waits tables in the intimate establishment but also translates the menu and other texts for Kajitsu and interprets for important clients.
Kajitu's Chef Masato Nishihara
Jamie, who specializes in translations relating to food and cooking, explained to me a few months ago at a JETAA NY gathering that he was working at a restaurant that specializes in shojin cuisine, which as a non-foodie I can best describe as a sort of high-end, vegan kaiseki. The chef, Masato Nishihara, had worked at Kitcho, a very prestigious kaiseki cuisine restaurant in Kyoto before coming to New York to open Kajitsu.
I can’t remember exactly what I ate, but each course did really blow me away in terms of both flavors and creativity. Plus the soba dipping noodles may be the best in NYC. The menu changes every month, so apparently a number of regulars come back each month to sample the new menu.
The fare is not inexpensive. But it’s well worth it if you have a special occasion to celebrate (which I did!) Especially if you get a seat at the counter where you can watch Chef Nishihara prepare each course right front of you, including his zen-like tea ceremony approach to making the macha at the end of the meal. (According to Jamie, all chefs at Kitcho must study tea ceremony.)
From the March "Spring" menu: Clear Soup with Sticky Rice Ball Mugwort, Rice Crackers.
Here’s a little additional background on Kajitsu from it’s website:
Kajitsu – “Fine Day”
Kajitsu means “fine day”, or “day of celebration” in Japanese. We have chosen the name Kajitsu hoping that a visit here will always be a special occasion for our guests.Shojin Cuisine
Shojin cuisine refers to a type of vegetarian cooking that originates in Zen Buddhism. Even though it does not use meat or fish, shojin is regarded as the foundation of all Japanese cuisine, especially kaiseki, the Japanese version of haute cuisine.
If you decide you have your own special occasion, make sure to say hi to Jamie and ask him all of your questions about the restaurant and the food. There’s lots to tell and lots to learn.
Kajitsu (www.kajitsunyc.com) is on E. 9th St between 1st Ave & Avenue A in New York City.
