Sômai Shinji – Taifû kurabu / Typhoon Club (1985)

Taifû kurabu / Typhoon Club (1985)

Sucks not to be part of the cool club

Director: Sômai Shinji
Writers: Kato Yuji
Date: 1985

Genre: Drama
Description: Ordinary life, highschool, growing up, coming-of-age film, desire, life

Cast: Mikami Yuichi, Kudoh Youki, Ônishi Yuka, Miura Tomokazu, Benibayashi Shigeru, Date Saburo, etc.

Crew of note:

Runtime: 1 hr 55 mins.
Color: Color
Trivia: Number 59 on Kinema Jumpo’s 100 Greatest Japanese Films

summary
In a high school somewhere outside Tokyo, a bunch of kids are growing up. One day a storm hits, and five of them get stuck inside the school at night while one takes an adventure to Tokyo.

review
I find it somewhat strange how difficult it is to find a review of this highly regarded film. 5 pages of results for both “taifu kurabu” and “typhoon club somai” only reveal 1 review: a thoroughly misguided NYTimes review from 1986, that likens it to a “more solemn… ‘Breakfast Club'”. What was this dude watching?

Obviously not this movie

For a film considered among the best in Japanese cinema (in fact, number 59 on Kinema Jumpo’s list), there sure is very little about it in English. Yet I can understand this to some degree, because even I find it hard to say much about it. That isn’t to say that nothing in the film stands out to be remembered and discussed, but rather I am left with the question, “What else is to be discussed?” Sure, there are the conceits of cinema (such as the surprisingly articulate, philosophical, and detached Mikami), but for the most part, Taifu kurabu feels more like a documentary than anything else.

He shows you the world of these adolescents, in a common time, in a common place. Yes, the subject matter is difficult and maybe complicated; the events that take place are far from ordinary. Yet Somai treats his subject with such respect and sincerity that even the most sensitive scenes have a certain tenderness to them. Some will pan him for his “distance”, but not only does it show that said respect, but it also puts his characters in context, and allows a very meaningful emptiness to permeate the screen. The tenderness I speak of isn’t one that is manufactured by cuts, close ups and other cinematic techniques. Instead it is achieved because Somai allows everything space to breathe and time to build, settle, and linger in one’s memory. Those who demand a closeup don’t understand his intention. *

Definitely not a common classroom

Maybe I am right to think that really, I have nothing to say about Taifu kurabu that isn’t pseudo-intellectual nonsense. Yet perhaps the desire to say something, to give this under-appreciated film a page just to say its name, is the best endorsement I can hope to give Somai’s creation.

conclusion
Japanese cinema has a great tradition of making ordinary life seem so meaningful and fascinating. Taifu kurabu might not be about the ordinary, but everyone will find something here that will remind them or their youth. It is not because of generality–Somai’s world is one of a kind–but rather, because of the sincerity and tenderness, and occasionally ire, that we all, Somai included, feel for our own youth that is extended towards these characters.

things to take note of
The characters’ conflicts and pains
How Somai shoots sensitive scenes
Do you see yourself in one of them?

Well, I'm definitely not the naked embarrassed guy!

best moment
Let’s dance!

why you should watch this
Great coming-of-age tale
Discusses many issues we all had while growing up
Maybe you’ll find something that reminds you of your youth

rating: 8

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

similar movies, maybe:
Can’t think of anything now, but it isn’t hard to find good movies about ordinary people and their not-so-ordinary lives

Note: I just did a google search 10 seconds after posting this review, and this review is number 1 for “taifu kurabu review” and on the first page for “typhoon club review”. Good news, I guess, but also somewhat disappointing, internetland!

* If you insist on knowing what I’m alluding to, then fine I’ll tell you. It’s the underwear dance numbers. Somai shoots these scenes from afar, and offers no close ups. I’m pretty sure a ton of people will squint, and even offer a zoomed image of it as the film’s best scene, but that’s pretty sad.