SAITAMA IS WACK!
Municipal rivalries, bedroom community resentments, and capital city snobbery are made fantastically farcical in Hideki Takeuchi’s adaptation of Mineo Maya’s cult manga. In this alternate Japan, Tokyo is a luxurious metropolis surrounded by impoverished prefectures living in near feudal-era conditions. Momomi Dannoura (Fumi Nikaido), son of Tokyo’s governor and possessor of striking feminine beauty, rules a baroquely decorated academy and disdains the presence of any non-Tokyoites, particularly those from the Saitama prefecture. The arrival of the mysterious transfer student Rei Asami (GACKT) sparks an undeniable attraction in Momomi and starts a war of liberation between the disrespected prefectures and the opulent megacity. Can love and regional pride overcome big city corruption?
Fly Me to the Saitama is Japanese lunatic satire at its finest, balancing a storm of local inside jokes with universal tensions between slick urbanites and commuter belt wastelands. In between, the film stuffs wacky battles, gender-bending characters, outlandish wigs and costumes, and plenty of historical anachronisms all delivered with disarmingly earnest performances from a stellar cast. Book your ticket to this award-winning, box office smash and accept your Saitamafication!
Special Edition Contents:
- High Definition Blu-ray (1080p) presentation
- 5.1 DTS-HD Master Audio and Uncompressed Stereo PCM
- Newly translated English subtitles
- Optional English subtitles for the deaf and hard of hearing
- Audio commentary with director Hideki Takeuchi, creator Mineo Maya, and crew
- Audio commentary by Japanese film scholar Mark Shilling
- Interviews with cast and crew
- Reverse Country Boasting Japan’s No. 1 Final Battle, a special promotional program for the film
- Behind-the-scenes footage
- Deleted scenes
- Reversible sleeve featuring two artwork choices
FIRST PRESSING ONLY: Collector’s booklet featuring new writing by manga and cosplay scholar Emerald L. King and a new printing of Mineo Maya’s original 188-page manga
The Criterion Collection, a continuing series of important classic and contemporary films presents The Man Who Stole the Sun.
Junior high school teacher Makoto Kido attacks a nuclear power plant to steal a plutonium capsule and then succeeds in building an atomic bomb by himself in his apartment. Calling himself “Number 9” and claiming to be a new nuclear power of his own, Kido extorts the government with demands for uninterrupted baseball games and a concert by the then-banned Rolling Stones, even going so far as to appoint his own negotiating partner, hardened police inspector Yamashita. Pitting rock icon Kenji Sawada with legendary tough guy Bunta Sugawara, Kazuhiko Hasegawa’s celebrated Japanese cult film explores the nation’s growing generation gap and the proliferation of nuclear power with black comedy, stylistic invention, and a heavy, controversial premise.
- New high-definition digital restoration with uncompressed monaural soundtrack on the Blu-ray edition
- The Legend is Lebon Video Testimony, an 84-minute documentary on the making of the film, with interviews and on-set footage
- Walking With the Movie, a tour of the film’s locations with Japanese singer Masaki Ueda
- Enthusiasm, Talk, Talk, My “Man Who Stole the Sun,” a 35-minute interview of director Kazuhiko Hasegawa by actor Masatoshi Nagase and special effects director Shinji Higuchi
- 11 p.m. “Wonderful!! Is Julie a Strong Guy Like Genbaku?!,” a 20-minute edited version shown prior to the film’s theatrical released on September 20, 1979
- English subtitle translation supervised by screenwriter Leonard Schrader
- PLUS: A new essay by Japanese film scholar Tony Rayns
A cult classic to knowing G-fans everywhere, Godzilla vs. Mito Kōmon was made by Shinya Takeshita around 1991 while a student at Osaka Art University. The short is loaded with DIY charm and cheeky ingenuity thanks to Takeshita playing a one-man show as a news reporter (with pop bottle microphone), various classic kaiju and tokusatsu characters (with cardboard fins and helmets), and even multiple utility poles. Takeshita also plays various roles from the iconic Japanese television series Mito Kōmon, including the title character and his various followers. The short is memorable in part for bringing two together two Japanese icons: Godzilla and his giant monster ilk and the characters of Japan’s longest-running period drama, Mito Kōmon (1,227 episodes from 1969 to 2011), which featured a feudal lord traveling in disguise with his samurai retainers and redressing some local injustice in each episode. In these socially distanced days where scores of people are taking their creativity to webcams and video-sharing in even greater abundance, Takeshita’s film is a reminder that wacky, enthusiastic, brilliant entertainment was always just one person and one camera away.
The Criterion Collection, a continuing series of important classic and contemporary films presents You Can Succeed, Too.
Sing, dance, and get ahead with You Can Succeed, Too, the closest Japanese cinema ever came to a full-blown Broadway-style musical! Set in a tourism company looking to secure a big American client in the run up to the 1964 Tokyo Olympics, an ambitious salesman (jazz drummer and comedian Frankine Sakai) and his handsome, undemanding colleague (musician and actor Tadao Takashima) struggle to negotiate love and business amid the pressures of a booming Japanese economy and the American-style changes brought to their department by the president’s daughter (Izumi Yukimura). Featuring music from avant-garde composer Toshiro Mayuzumi and lyrics by renowned poet and translator Shuntaro Tanikawa, director Eizo Sugawa creates a musical comedy in the spirit of Frank Tashlin’s Will Success Spoil Rock Hunter? and Frank Loesser’s How to Succeed in Business Without Really Trying, celebrating and skewering Japan’s growing global profile with singing salarymen and dancing office workers.
- High definition digital transfer with uncompressed monaural soundtrack on the Blu-ray
- Audio commentary with actor Tadao Takashima
- Audio interview with director Eizo Sugawa and actor Frankie Sakai
- A History of the Japanese Musical, a video essay by Hieu Chau
- Theatrical trailer
- Gallery of promotional materials
- New English subtitle translation
- PLUS: An essay by film scholar Michael Raine and 1994 interviews with composer Toshiro Mayuzumi
The Saskatoon Fantastic Film Festival has reached its landmark tenth iteration this year and Festival Director John Allison and his team have ensured that this is the Fest’s biggest and brightest year yet by expanding it to six days, hosting a Drunken Cinema screening of A Nightmare on Elm Street, hosting another Saturday Morning All You Can Eat Cereal Cartoon Party, and bringing in as special guests director Joe Dante and actress Belinda Balaski for a three film retrospective. The SFFF kicked off with something of a soft-open with another new addition – a five film virtual reality experience held preceding the theatrical film program each weekday. Attendance was sparse on Day 1 so let this be a warning to those content to let the VR program pass them by – miss the SFFF’s Virtual Reality Experience section and you will certainly be missing out on some of the Fest’s most intriguing aspects.
(Believe it or not, MMC!‘s next Criterion proposals are forthcoming. In the meantime and in anticipation of our next two proposals which deal with practices in appropriation, I thought we might consider another animated treatment of media ownership and access, this time from Japan!)
In a recent piece for Locus Magazine, Cory Doctorow laments the failed promise of digital media and selective rights management. In the article, Doctorow recalls how the digital revolution promised infinite distribution, customized rights to content, and cheaper prices. In fact, the opposite has occurred. Access is limited and often temporary, pricing remains static, and choice is dictated by owners who rights seems to be held in virtual perpetuity. Doctorow’s most pithy and salient point comes near the end of his editorial – “There’s a name for societies where a small elite own property and everyone else rents that property from them: it’s called feudalism.”
With feudalism comes poachers, bringing to mind Hiroyasu Kobayashi’s wonderful animated short Cassette Girl (2015). The film, one of the best from the Japan Animator Expo series, offers a beautiful pastiche of anime tropes, including a spunky young adventuress, her giant mecha companion, and an elaborate transformation sequence with obligatory undressing. The girl and her ‘bot search for vintage content on old video cassettes, causing them to run afoul of the tyrannical media police and initiating an elaborate battle that dominates the short. What makes Cassette Girl so impressive is its spectacular embrace of hard media and actual ownership. Physical possession is not merely a means to defeat Cassette Girl‘s media police, but a transformative process that remakes the world itself in favour of its media-poaching heroes (complete with full frame parameters and minor tracking issues). If only the battlefield over DRM were truly this awe-inspiring!