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Shang xue lu shang / The Story of Xiaoyan

Shang xue lu shang / The Story of Xiaoyan (2004)

Wo yao shang xue (written on the left) = I want to go to school. Wow an educational caption!

Director: Fang Gangliang
Writers: Zhao Dongling
Date: 2004

Genre: Drama, Comedy
Description: School, children, education, working student

Cast: Wu Xu, Ai Liya, Yang Shulin, Zhao Xue, Hu Zhixiao, Ren Huan, Guo Haowei

Crew of note:

Runtime: 91 mins.
Color: Color
Trivia: Based on a true story

Wang Yan is a little girl in a little town in western China. Her school has just raised tuition from 20 yuan to 24 yuan and 80 cents, and unfortunately her family might not be able to afford to send her to school next semester. She figures that if she can earn it herself, she should be able to continue attending school. The little businesswoman works her way from eggs, to a pen, to a small lamb, to picking berries, all to earn enough money to go to school.

Like most, I hated school when I was a kid. Homework, boring classes, evil teachers, waking up early… aside from PE and lunch time (actually, basketball time), was there ever anything fun about school? Only the nerds ever wanted to go, and they were picked on relentlessly. Except during exams, then they were everyone’s best friends. I suppose when you live someplace where education is a basic and provided right, you end up taking it for granted. And maybe that’s why movies like Shang xue lu shang are alien enough to be unique and interesting at first glance, but also have the ability to feel familiar in its themes.

Shang xue lu shang / The Story of Xiaoyan (2004)

PE is awesome is one of those universal themes

That’s how movies like this become successful: it is set in a foreign land, in a strange culture, in a world we’ve never been to before, and yet the story, characters and themes are able to resonate deep within us. They make sense, sort of, even though the film is as foreign as the language they speak. Luckily, cinema seems to work in a language that we all understand, and Fang uses it well. He works many long and wide shots of the the terrain to frame Wang Yan’s struggle, but remembers to keep us close for dear moments. The music punctuates key scenes, but never feels pandering or manipulative.

The cast of characters that surround the main character also add to the film’s great charm. Dagua and Erguo are adorable, like most little brothers are; the groom-to-be is a hilariously thrifty businessman; the teacher is supportive but has problems of his own; and her mother, though she does not approve of her plans at first, eventually gives in. Wang Yan and the people around her are richly drawn and real.

Shang xue lu shang / The Story of Xiaoyan (2004)

A kid selling a blind man a lamb. Yes.

This is “Little Kid Overcoming Adversity” done right, and Wang Yan is the perfect protagonist for a movie like this. She is the best thing about the film, and even though the adversity she faces may not be especially severe or insurmountable, her positive attitude and hopefulness is welcome in a genre usually filled with tears. Unlike other movies that use sadsack children for quick sympathy and bathe their stories in that misguided “Depressing is Deep” mantra, Shang xue lu shang’s protagonist is optimistic and feisty while her story is lighthearted and a joy to watch. Her quest to earn that 24 and 80 is one part underdog story, one part meaningful, one part comedy, and 10 parts enjoyable. Okay maybe my math (and English) have gone down the drain, but you’ve never wanted to see a kid go to school more in your life.

Okay so I probably can’t make a better conclusion than what I wrote in that last paragraph so I’m just gonna stop here and tell you to just read it again and go look for this movie. k?

Shang xue lu shang / The Story of Xiaoyan (2004)

Donald Trump with a cap instead of a toupe

things to take note of
Wang Yan’s optimism
Lack of melodrama and predictable life drama

best moment
Dagua, Ergua and Wang Yan running around
Making moneys

why you should watch this
Best child-wants-to-go-to-school movie evar

rating: 8.2

Plot: A
Cast: B+
Cinematography: B
Music: B
Entertainment: A

similar movies, maybe:
Not One Less? But that one sucks

Eburi manshi no yûga-na seikatsu / The Elegant Life of Mr. Everyman

Eburi manshi no yûga-na seikatsu / The Elegant Life of Mr. Everyman (1963)

The poster just screams most hilarious boring movie ever

Director: Okamoto Kihachi
Writers: Ide Toshiro, Yamaguchi Hitomi
Date: 1963

Genre: Drama, Comedy, Satire
Description: Salaryman, narration, docudrama

Cast: Kobayashi Keiju, Aratama Michiyo, Ehara Tatsuyoshi, Tachikawa Hiroshi, Tôno Eijirô, Nakamaru Tadao,

Crew of note:

Runtime: 103 mins.
Color: Black and White

Eburi is a salaryman in Tokyo, living an ordinary life. He works at an ad agency as a writer, tends to talk nonstop when he drinks, and unconsciously aspires to become a real writer. One day, after having one too many drinks at a bar, he comes home having promised two editors the best story they’ve ever read, except he doesn’t remember he promised anything and doesn’t even know what to write! Eburi, and his otherwise boring, average, uninteresting life, run through the filter of his perceptive and babbling brain, becomes the topic of his soon-to-be popular semi-autobiographical novel.

The salaryman is modern Japan’s version of the Edo period’s lowly samurai footsoldier classes (yeah there were many subclasses within samurai). Stuck in a dead end job, with no opportunities for anything better, and not many options other than what they already have, they usually lead very boring, meaningless lives. At the very least, samurai had infrequent battles, wars and clan conflict to make things exciting, and to give them a glimmer of hope in achieving anything worthwhile. It also makes for enjoyable action movies for audiences. But what do salarymen have? Well, in Eburi’s case, he gets to write a story about his boring, meaningless life. And what the audience gets is a movie about him writing about his boring, meaningless life.

Eburi manshi no yûga-na seikatsu / The Elegant Life of Mr. Everyman (1963)

The boring face or boredom

Okay, that sounds a LOT worse than it is, but that’s really what the Eburi manshi… is about. On paper it sounds like this should be the most boring movie imaginable: it’s about a boring guy, with his boring voice narrating his boring life about his boring book. Yet if you pay attention to just how boring everything is–I mean, really LISTEN to what Eburi is saying about himself and about his life–it actually is quite fascinating.

Eburi manshi no yûga-na seikatsu / The Elegant Life of Mr. Everyman (1963)

Oh Eburi, you and your silly silly life

And its the dialogue, the narration, that truly shines, along with Kobayashi’s delivery. He says SO MUCH and talks about so many things so fluidly that it’s hard to imagine that these were not Kobayashi’s own thoughts, and that he was not actually drunk while being filmed. The observations he makes are incredibly detailed to the point of nonsense and his descriptions of everyday Tokyo life are so full of vibrancy and energy that he sounds like he’s hallucinating. How could this man, living this life (I’ve used the word boring so many times sheesh) have such a rich and powerful vision of this city? When he describes his life it’s almost as if every moment is magical, every event important. But he’s just another faceless, ordinary salaryman, right?

Well, maybe he isn’t, and maybe behind every seemingly common man is an interesting story. Maybe all of us are like Eburi, and all of us have led fascinating lives worth ink on a page. Or maybe we’re all just delusional. Huh.

Eburi manshi no yûga-na seikatsu / The Elegant Life of Mr. Everyman (1963)

..And the predator has his prey trapped, backed against the corner.. and he TALKS. Nonstop. About his mom

Eburi proves that the salaryman is an interesting and worthwhile subject despite the dead-end life that one lives. In fact, it probably is because of his seemingly meaningless (to everyone but those around him) existence that his life is given meaning in the context of cinema and [insert related academic field here]. Hats off to Okamoto for another brilliant satire. I still don’t want to become a corporate slave though.

things to take note of
The many, many jokes and descriptions
The narration

best moment
Eburi is drunk and talks nonstop. Really.

why you should watch this
This is Kobayashi Keiju’s best work as a leading man

rating: 8.6

Plot: A
Cast: A
Cinematography: B
Music: B
Entertainment: B

similar movies, maybe:
Other deadpan comedies/satires from Okamoto, maybe Satsujin kyo jidai / Age of Assassins or Nikudan / Human Bullet

Koshikei / Death By Hanging (1968)

Ôshima Nagisa - Koshikei / Death By Hanging (1968)

Maybe we should poke him just to check?

Director: Oshima Nagisa
Writers: Fukao Michinori, Sasaki Mamoru, Oshima Nagisa, Tamura Tsutomu
Date: 1968

Genre: Black Comedy
Description: Capital punishment, black comedy, racism, non-linear structure, surrealism

Cast: Sato Kei, Watanabe Fumio, Adachi Masao, Ishido Toshiro, Toura Rokko, Yu Do-yun

Crew of note: Oshima Nagisa is also the narrator

Runtime: 1 hr 57 mins.
Color: Black and White

A Korean man is sentenced to death by hanging, but survives the execution. For the following two hours, his executioners try to work out how to handle the situation, and none of them have a clue.

Koshikei / Death By Hanging (1968)

So.. his head goes into the loop right?

I usually feel a little guilty about laughing at black comedies. The situations, under normal circumstances, aren’t supposed to be funny at all, yet the director is somehow able to manipulate a few chuckles out of me. I feel cheated and used. But somehow in a good way.

So I definitely got used by Oshima. Repeatedly. And I enjoyed it.

This is black farce at its finest because Oshima never pulls punches or stops short of saying something he might regret. The film tackles a ton of issues–racism, capital punishment, religion, militarism, if it was an issue in Japan during the 60s, this movie has it–that will unfortunately fly over almost everyone’s heads (probably, unless you lived there at the time). But he tackles all these head on and with very little tact that it’s possible to understand what he’s trying to say, or at least appreciate the way he’s trying to say it. It doesn’t always work–there are times that the film feels too propagandistic and didactic (I can imagine some sensitive people being offended)–but the use of farce to shove all of these issues into a small execution hall makes it tolerable.. even fun.

Koshikei / Death By Hanging (1968)

Well it certainly look like they're having fun

This farce is supplemented by an equally strange and unpredictable narrative structure. It might be a spoiler to say it, but even with the knowledge that Koshikei moves through various modes of storytelling, it’s still surprising when it happens. Sometimes even a little unnerving. The film starts off as a drama, then descends into a mad black comedy, acquires traits of a documentary that quickly spins into surreality, or maybe it was just a dream sequence or someone’s imagination? All without very little warning. Oshima toys with reality in Koshikei, and though largely confusing, the absurdity works. If that makes any sense.

Koshikei / Death By Hanging (1968)

This makes absolutely no sense

If there’s one “problem” with the movie, it’s that Oshima tries a little too hard to smash home his ideas. The movie drags on after a while, and his unfettered criticism of various topics is often too propagandistic and one-sided for my taste. This lack of conciseness eventually builds to a slight sour taste, but not nearly enough to ruin what happens before it.

Oshima’s funniest movie? Definitely! It’s also a good summary of various social issues in Japan during the 60s mixed into a very interesting, and very confusing, narrative structure. Even if you don’t enjoy the serious aspects of the film, at the very least you’ll get a few laughs.

things to take note of
Transition from different modes: faux-docu, surrealism, dream sequence, ??semi-reality??
The issue regarding Koreans in Japan
Oshima’s views on social issues (he’s the narrator, remember)

best moment
Oh **** what are we gonna do now?

why you should watch this
Great narrative structure, though confusing
Suspiciously hilarious

rating: 8.1

Plot: B
Cast: B
Cinematography: B
Music: C+
Entertainment: C+

similar movies, maybe:
Unfortunately I’m drawing a blank.

Tonari no Yae-chan / Our Neighbor, Miss Yae

Shimazu Yasujiro - Tonari no Yae-chan / Our Neighbor, Miss Yae

That sock gets a heck of a lot of attention

Director: Shimazu Yasujiro
Writers: Shimazu Yasujiro
Date: 1934

Genre: Drama, Shomin-geki
Description: Neighbors, friendship, young love, divorce

Cast: Aizome Yumeko, Obinata Den, Isono Akio, Iida Chouko, Okada Yoshiko, Katsuragi Ayako, Iwata Yukichi, Mizushima Ryotaro

Crew of note:

Runtime: 76 mins.
Color: Black and White
Trivia: Two famous directors acted as assistants on this film, Toyoda Shiro and Yoshimura Kozaburo.

Two families live in rural or suburban Japan, somewhere in the Kansai region probably. The two families are quite close to each other; the two fathers are drinking buddies, the children are friends, and the mothers happily look out for the other family’s well being. One day, Kyouko, Yae-chan’s sister, comes home after leaving her husband whom she is unhappy with. Her arrival suddenly stresses the once peaceful pair of homes; the father becomes unhappy, the mother worried, the sister envious of her relationship with Keitaro.

Before seeing this movie, I thought Yae-chan would be an old hag living alone, throwing cats at passersby and drinking tea from a flower pot. Then people would find out she’s not actually a crackhead and the neighbors learn to love her. Then she dies and people remember her fondly, and not as the crazy lady with a mysteriously unending supply of cat ammo. I have absolutely NO idea why my brain made up this story, though I’d like to categorically deny childhood trauma and repressed memories. This was my second Shimazu film by the way.

Thankfully Tonari no Yae-chan is neither as absurd nor as depressing as my made-up-movie. In fact, it’s actually quite delightful. Sure, there’s the conflict created by the arrival of Kyouko, one that is sufficiently complex and complicated. The scenes with Kyouko are a little melodramatic, actually, but despite the fact that I’m not a fan of sappy melodrama, these moments didn’t really hurt that much.

What I enjoyed most about this film were the pointless everyday encounters between Yae-chan and Keitaro. There is something very natural, very modern about how they talk to each other, or actually, how they flirt with each other. Not only is it hilarious, it’s also quite unique, as I don’t remember any other film from the 30s with such a non-judgmental, care-free and modern picture of youth getting their flirt on. Really.

Shimazu Yasujiro - Tonari no Yae-chan / Our Neighbor, Miss Yae (1934)

Proof: Getting their flirt on

I was not pleased, however, with Yae-chan’s parents’ decision (spoilers*) at the end, though Shimazu pulls this back a little by isolating this decision to the two old people. Yae-chan’s far too lively, far too hopeful, indeed far too important for them to drag along. Some might consider it a little naive, how the movie ends just as it begins with the youngsters playing, but I’d like to think it’s more a result of an enthusiastic, positive outlook. And it’s during the best parts of the film, unencumbered by drama or farce, simply letting the neighbors be neighbors and live their normal happy lives, that Shimazu shines.

The movie has some flaws. Ok, there are quite a bit of flaws, but it doesn’t dampen how enjoyable some of the best scenes are. I would have been more pleased if the film had continued showing the growing fondness between Keitaro and Yae-chan without having to insert Kyouko (the inevitable conflict), as their conversations and exchanges are some of the most relaxed and realistic from this age. Still, this is a fine film despite all my complaints, one that fans of old Japanese movies should certainly see.

things to take note of
The relationship and exchanges between Yae-chan and Keitaro
Yae-chan’s pretty cute

Aizome Yumeko in Tonari no Yae-chan

This cap kinda reminds me of Juri-chan's 'Okaaaaasaaan' moment from Swing Girls for some reason, which is awesome you know

best moment
Socks those dirty dirty socks

Tonari no Yae-chan / Our Neighbor, Miss Yae

Disclaimer: film does not include foot fetish scene

why you should watch this
Shimazu, though pretty unknown in the west I think, is considered one of the early masters of Japanese cinema, particularly the shomin-geki, movies about middle-class Japanese homes.

rating: 8.1

Plot: C+
Cast: B
Cinematography: B
Music: C+
Entertainment: B

similar movies, maybe:
I’ve so far only seen one other Shimazu, Kon’yaku samba-garasu (1937), so maybe that one. It’s pretty good.

* According to Jacoby’s “A Critical Handbook of Japanese Film Directors”, Yae-chan’s parents’ decision to move to Korea is a not-so-subtle endorsment of Japanese imperialism. I was weirded out by the choice of moving to Korea, so maybe this is true, though I’d like to think it isn’t.

Ten Women, One From Each Decade (1920-2009), Who I’d Totally Go Out With


Looking for chick pictures using google image search at work: not a good idea!

I like girls. This is pretty obvious. And despite the fact that Japanese and Chinese cultures are seen by many as being very patriarchal and… uh, un-feminist, there have actually been a lot of amazing women on screen in their films. So here are 10 of my favorites, one from each decade from the 20s to the 2000s.

Well, actually that’s just 9 decades, but I chose two for the 2000s, just to make it a good number ok? Stop complaining.

PS. Some of the pics not from the movie. Google image search did not make my life easy.

Ying Ying from Xixiang ji / Romance of the Western Chamber (1927)
Why I Like Her: She’s a legendary beauty?
What’s So Special About Her: Actually, this was a coin toss; I’ve only ever seen 20 movies from the 20’s.
Why It Might Not Work Out: Between a brush-wielding scholar and a bandit, there might be too much competition.
Why She’d Like Me: I am neither a nerd nor a stinky unbathed ruffian.
Potential for Long Term Relationship: 1/10 – Not a good start. My self-imposed one-per-decade limit was probably not a good idea?

Xixiang ji / Romance of the Western Chamber (1927)

I'm not a big fan of the 20's apparently

Ruan Lingyu as The Goddess in Shen nü / The Goddess (1934)
Why I Like Her: She loves kids and will do anything to make sure they get a good future.
What’s So Special About Her: She’s a strong independent woman when women were still sold in the Men’s Accessories Department.
Why It Might Not Work Out: She probably already hates guys, and I doubt I’d be able to convince her otherwise.
Why She’d Like Me: I’d treat her like a goddess. Yeah that’s the best I could come up with.
Potential for Long Term Relationship: 3/10 – She hates guys, and the cultural differences of 70 years is probably too much.

Ruan Lingyu in Shen nü / The Goddess (1934)

Reused photo because I'm lazy

Takamine Hideko as Hideko in Hideko no shasho-san / Hideko the Bus Conductress (1941)
Why I Like Her: She’s got an innocent charm and a lovely smile.
What’s So Special About Her: She’s got the makings of a great business-woman, so I might be able to fulfill my life-long dream of becoming a “houseband”.
Why It Might Not Work Out: I find some of Hideko’s later roles very annoying, so if she turns out that way I’d probably dump her eventually.
Why She’d Like Me: I love to travel and I wouldn’t mind spending long hours on a bus with her talking about everything.
Potential for Long Term Relationship: 6/10 – I don’t want to live in a small town, but humble, sincere and beautiful country girls like her are hard to find nowadays.

Takamine Hideko in Hideko no shasho-san / Hideko the Bus Conductress (1941)

Not from the movie, because I just found out Hideko was 17 during Hideko the Bus Conductress. Oops?

Awashima Chikage as Masako in Soshun / Early Spring (1956)
Why I Like Her: She’s a loyal wife who’ll stick by you through thick and thin, but she wants to be appreciated too.
What’s So Special About Her: I can rest assured that even through a rough patch (career-wise, personal life, or temporary insanity), she’s gonna support me.
Why It Might Not Work Out: I might treat her like dirt knowing she’ll be loyal to me anyway. Treat her like dirt and she’ll stick to you like mud? Probably not.
Why She’d Like Me: Actually, I’m a nice guy, so I’d treat her a lot better than Shoji.
Potential for Long Term Relationship: 4/10 – Actually, this should work out. Except she already has a husband. Drat.

Awashima Chikage in Soshun / Early Spring (1956)

Not shown: Unappreciative husband

Aratama Michiyo as Michiko in Ningen no joken / The Human Condition (number 3 was released in 1961)
Why I Like Her: I don’t think many actresses from the 50s-60s can compare with how absolutely lovely Michiyo is.
What’s So Special About Her: She pretty much knows exactly what it means to love.
Why It Might Not Work Out: Even though Kaji’s already dead, I doubt I could make her forget about him.
Why She’d Like Me: I’m not dead, I’m not going off to war, and I’ll spare her from more heartbreak.
Potential for Long Term Relationship: 7/10 – I’m sure she’ll forget about Kaji eventually. After that I’ll just have to turn the flirt on.

Aratama Michiyo in Ningen no joken III / The Human Condition III (1961)

The fact that I couldn't find a good picture of Michiyo without Nakadai Tatsuya is probably a sign

Fuji Junko as Tsuruji in Junko intai kinen eiga: Kanto hizakura ikka / The Red Cherry Blossom Family (1972)
Why I Like Her: She’s a powerful woman who knows how to take control.
What’s So Special About Her: She’s got a bunch of yakuza dudes following her command, which is always good for fights and football games.
Why It Might Not Work Out: Getting mixed up with the yakuza is tough, and if I ever get in trouble, she’d probably need to save my ass. Not very manly, nor very attractive.
Why She’d Like Me: Maybe she’s into artsy sensitive guys. Otherwise, uh, probably not.
Potential for Long Term Relationship: 6/10 – I could learn to get tough, but she’s probably already too tough for any man to handle. I didn’t even choose her Red Peony Gambler version.

Junko Fuji in one of the Red Peony Gambler movies

Red Peony Gambler Version: She could still kill you in her beauty sleep

Joey Wang as Hsiao Tsing in Sien nui yau wan / A Chinese Ghost Story (1987)
Why I Like Her: She’s cute. And she does magic. I’m sure that’d be useful for something.
What’s So Special About Her: She seduces men for a living, so I assume she’s pretty freaky.
Why It Might Not Work Out: She isn’t exactly human, so I’m not sure if that’ll work, you know.. logistically.
Why She’d Like Me: Actually, she probably wouldn’t, since I hate scary places like creepy forests and I’m afraid of the dark.
Potential for Long Term Relationship: 0/10 – No chance in hell, so I’m not sure why she’s on this list.

Joey Wang in Sien nui yau wan / A Chinese Ghost Story (1987)

Probably not her seductive look

Faye Wong as Faye in Chung Hing sam lam / Chungking Express (1995)

Why I Like Her: She’s silly.
What’s So Special About Her: She’s silly!
Why It Might Not Work Out: Actually, I can’t think of anything here except that we might eventually run out of crazy ideas to entertain ourselves with.
Why She’d Like Me: I have the ability to match her adorable-ness and craziness. Yes, really.
Potential for Long Term Relationship: 9/10 – She’s adorable, and she’s the first celebrity I ever grew a crush on, and so far there have only been 2.

Faye Wong in Chung Hing sam lam / Chungking Express (1995)

Faye being adorably silly

Miyazaki Aoi in Shonen Merikensack (2008) – I haven’t actually seen this one yet?
Why I Like Her: Dude, just look at that poster.
What’s So Special About Her: There is something very precious, very fragile about her beauty that I find amazing.
Why It Might Not Work Out: If her character turns out to be like the one from Nana (2005). Ew.
Why She’d Like Me: The movie’s about punk rock, supposedly, and no one’s cooler than me when it comes to music.
Potential for Long Term Relationship: 8/10 – Actually I’d wanted to say Kozue from Eureka / Sad Vacation, but I’d rather a happy Aoi with Kozue’s strong, complex interior. I wonder what that’d be like.

Miyazaki Aoi in Shonen Merikensack (2008)

Face tattoos and brass knuckles will never again be this cute

Ueno Juri as Aoi in Niji no megami / Rainbow Song (2006) or actually, just Juri-chan
Why I Like Her: She’s an aspiring director who loves movies, film (the medium), and photography ( ❤ kodachrome).
What’s So Special About Her: Everything? You might find me weird if I elaborate.
Why It Might Not Work Out: She dies at the start of the movie.. but if I can get to replace Tomoya (that fucking idiot) it wouldn’t happen at all. Now all I need is a time machine or something.
Why She’d Like Me: We have similar interests and personalities, and my perfect intuition (trust me I’m always right about these things) tells me so. I’d also try really really hard?
Potential for Long Term Relationship: 9.9/10 – I’d give her a 10 but my girlfriend might kill me. This is assuming I have a time machine.

Ueno Juri in Niji no megami / Rainbow Song (2006)

Time spent writing this article: 17:10.
Time spent looking at Juri-chan pics: 1:05:00.

Well this one’s pretty obvious, right? I’d picspam but then I’d spend another 5 hours looking at Juri-chan pictures and get fired from work.



November 2020