Yorikolab's special feature
An Interview with
Jerry White (writer, author of THE FILMS OF KIYOSHI
KUROSAWA)
Yorikolab: Could you tell me how you became interested in Kiyoshi
Kurosawa's films and Japanese Cinema?
Jerry
White: My initial interest with Japanese Cinema began with the masters — Akira
Kurosawa, Mizoguchi, and Ozu.
From there I started watching a little bit of everything, and became
particularly interested in horror films.
I came across CURE and that was enough to make me search for
everything else Kiyoshi Kurosawa had directed.
This was when CURE first came out,
and in
Even now, actually,
I haven’t seen all of his movies!
Hearing that story, how much international
recognition CURE brought to Kiyoshi Kurosawa really brings home to
me.
Do you think that CURE is a common entrance for
his fans in the States?
Jerry
White: I would definitely say that CURE is his best known film here. Even
horror fans who don’t know who Kiyoshi Kurosawa is may be familiar with that
film.
I thought that maybe PULSE would become popular after the
American remake,
but that version was so terrible! It probably made people
not want to watch the original, which is really
unfortunate.
Which Japanese horror films, for example, did you
become particularly interested in when you were discovering
Kurosawa?
Jerry White: One Japanese horror
director I really enjoy is Toshiharu Ikeda. I think EVIL DEAD TRAP is a great
film.
It’s very different than
Kurosawa’s work, more of a traditional horror movie. But it’s one of my favorites.
I haven't watched EVIL DEATH TRAP. Masaki Tamura is the director of
photography, isn't he?
Jerry White: That’s correct. He also did an excellent job on EYES OF
THE SPIDER and SERPENT’S PATH.
Those are two other Kurosawa films
that I wish could be easily available here in the states, because they’re two of
my favorites.
Actually, I would
consider them classics.
(THE FILMS OF KIYOSHI
KUROSAWA, Stone Bridge Press, 2007)
How did you get copies of Kurosawa's films
which are hardly available in the States, and how long did it take to complete
THE FILMS OF KIYOSHI KUROSAWA?
Jerry White: I ordered the original Japanese
imports online.
As you can
imagine, this got very expensive, but it was worth it! In a way, the book gave me the “excuse”
I needed to track down all his films.
From initial idea to publication it took about
two years. I tried to make it as
accessible as possible for readers — not necessarily just film students and
professors.
I still feel that a
more academic, English language book needs to be written about his work, to
further expose people in
But this
will have to be done by someone who speaks Japanese
fluently.
You wrote that your friends
helped you by translating Japanese dialogues into English lines by lines. Did they write down each dialogue in
English for you?
Jerry White: Yes — Hiroki Kobayashi tackled the
SUIT YOURSELF OR SHOOT YOURSELF movies, essentially creating a transcript of the
dialogue.
My wife Yeeshing —
who is Chinese but also speaks Japanese fluently — helped me with the other
films, often sitting by my side and explaining the finer points of language and
culture.
The book definitely
could not have been written without her.
What is the film in which you first saw Yoriko
Douguchi? What was your first
impression of her?
Jerry
White: That was CURE. My first
impression, outside of her being very beautiful, was that there was a very eerie
quality to her acting—almost otherworldly.
Obviously that fit that particular role perfectly.
I didn’t know too much about
Japanese actresses at that time, and given her performance in that film I
assumed she was very well known and had won many
awards.
Yoriko Douguchi in CURE is regarded as one of her
most excellent acting performances by her fans, though she is in only one
episode of the film.
Jerry
White: There’s definitely something a little frightening about her character —
aloof, I would say, like many of the characters in CURE.
She plays it brilliantly. I wonder if this is what Kiyoshi
Kurosawa found so appealing about her.
The sort of unknowable but
fascinating quality that is characteristic of her acting is very similar to what
makes his films so unique.
I
wish I had thought of asking him that when I interviewed
him.
In The Films of Kiyoshi Kurosawa, you
wrote:
He
has important things to say about Japanese society, alienation, (omitting the
rest, page 20)
What do you think about Yoriko Douguchi
in Kurosawa's films, when it comes to a sense of alienation or solitude?
Jerry
White: Again, I think it’s that mysterious quality she possesses that makes her
fit so well into the world of his films.
She seems to stand apart from the
world, and for this reason her characters always seem a bit lonely. Koji Yakusho has this quality as well, I
think.
In the chapter "The Excitement of the Do-Re-Mi-Fa
Girl", you wrote :
Akiko may be innocent, but she's also stubborn, intelligent, and
ultimately rebellious. (page 39)
What part of Akiko do you think she may be
"intelligent" and " ultimately rebellious"?
Also, I would like to ask you whether these 2
words are your impression of Akiko or Yoriko Douguchi.
Jerry White: First of all, I love that
movie! I think it’s very
underrated.
As the film
progresses, we see that Akiko is not quite the innocent we assume she is at the
beginning.
I don’t believe this is a matter of her character changing, as
much as Akiko allowing her natural personality to come to the forefront.
In the end, she really becomes the
leader of the students, although she doesn’t fit into the mold of the
university.
Although she is not
in her natural environment, she is subservient to no one.
I’m not sure if this is an accurate
depiction of Yoriko Douguchi, although given the intelligence she brings to her
roles, I would assume that is true, at least.
My impression of Akiko’s character —
and this is really thanks to Yoriko Douguchi’s performance — is that even though
she’s not a city girl and is completely out of her element at the university,
she never seems naïve to me. In
fact, she seems more intelligent and knowing than any of the other
students.
Her experiences don’t
change her, as much as we just learn how she really is with the passing of
time.
It’s as though she’s
holding back her true self from the viewer until the end of the movie.
I think this “mysterious” quality is
what makes her so seductive to the professor and other students.
By the way, what percentage of U.S. Kurosawa fans
do you assume they have a chance to watch DO-RE-MI-FA
GIRL?
As you mentioned, this film can be subject to
underestimation. For what would you recommend this film to those who do NOT want
to watch it very badly,
because they think that it doesn't look like CURE,
CHARISMA or PULSE?
Jerry
White: I would say that a VERY small amount of people have seen DO-RE-MI-FA GIRL.
In fact, I doubt most people
have even heard of it! I wonder how interesting the film would be to
people who are not fans of Kurosawa’s work.
I saw it later, while I
was writing the book, so it’s difficult for me to think of it out of that
context.
Then again, it is an enjoyable film, a lot lighter than some
of his later work.
There are also some wonderful shots, and of course
Yoriko Douguchi’s performance. And a musical number — let’s not forget
that!
I am glad that you wrote about each film of the
SUIT YOURSELF OR SHOOT YOURSELF series in detail. Definitely, It is an epoch-making work of
you.
Jerry White: Thank you for your kind words —
these films were the most difficult to write about, since there were no
subtitles and I don’t speak Japanese
(luckily, I have some very patient
friends who do).
I thought
otherwise because most plots of the films are almost repetition and pretty easy
to follow without subtitles.
Jerry White: I agree that the plots were easy to
follow, and I probably could have figured out what was happening even without
subtitles.
But according to my friend Hiroki (who translated) there
was a lot of wordplay that didn’t translate very well into English,
and was
hard for him to explain to someone who didn’t speak Japanese.
I
probably missed out on a lot of the humor of the series for this reason — I
think humor is the most difficult thing to translate, no matter what the
language,
because a lot of it is so
subtle.
In NOUVEAU RICHES particularly, Kosaku's dialogues are full of
blah-blah.
For all his dull
speeches, he and his character are captured vivid by the camera's swift and
smooth movements.
If I were
you, I would crave to know what the dialogues may sound in a domestic
context.
Is this interpretation close to your frustration?
Jerry White: Yes — that’s it exactly! I feel very envious of anyone who speaks
Japanese and is able to appreciate the movies completely!
I think THE HERO is the most astonishing one of
the series, and I suppose you rank it the highest (of the series),
too.
What about Yoriko Douguchi? In which one of SUIT
YOURSELF OR SHOOT YOURSELF, do you think Yoriko Douguchi is most
unforgettable?
Jerry
White: Definitely THE HERO is her most astonishing role, although to be honest I
always found her character very interesting and kept hoping she would have a
larger role in all of them.
I
absolutely love the final shot of her face in THE HERO, though. It’s an unforgettable moment, and I’m
not sure it would have worked as well with any other actress.
Since the
ending is rather ambiguous, I think her presence — rather mysterious as always —
just adds to it.
Speaking of Yoriko Douguchi in SUIT YOURSELF OR
SHOOT YOURSELF, I'm curious how slightly Yumiko's character changes as the
series progress.
In the earliest one and the second one, she
appears to be very confident and daring. She stands so cool in the two films.
However, when we see the last one, she looks kind
of withered away and less lively, then our favorite ending with Yoriko
Douguchi's melancholic face closes everything.
It is as if it were faded and
released into black in a perfect way, with her own
ambiguousness.
Thinking of it this way, I am certain that it has
to be her who sits there at the table to finish the
series.
Jerry White: That’s an excellent
interpretation!
You’re right — when you think of it like that, she
really reflects what happens throughout the series, as it grows from a light,
comic caper into the more serious film at the end.
I think this
mirrors the changes in Kurosawa’s directorial ability and style, as
well.
In LICENSE TO LIVE, Yoriko Douguchi looks
different from herself in other Kurosawa's films.
She enters on an motorized skateboard and smashes
into cardboard boxes, smiles softly strumming the ukulele on the riverbank,
and seems to really enjoy singing in the nightclub sequence.
What do you think of this "sunny" side of Yoriko
Douguchi which can be considered as unusual to many fans of Kurosawa's
films?
Jerry White: To be honest, I didn’t realize it
was even her until the second viewing!
I guess I had a preset notion of what “type” of actress she was, so
this was a really cool change of pace from her other films.
It really demonstrates her range, and
makes you appreciate all her other performances even more.
Among Kurosawa's films featuring Yoriko Douguchi,
what is the most popular one internationally, except for CURE? Is it probably
CHARISMA?
Jerry
White: Yes, I would agree that it’s CHARISMA, although that movie does tend to
baffle audiences
(I loved it from the first viewing, but I had to really
study the film before I “got” it — and I’m still not 100% sure I do).
Of course, both CURE and CHARISMA were released on DVD by major
companies — you could purchase them at any good DVD store.
So the fact
that these are the most popular is a little misleading — audiences here simply
do not have a chance to see LICENSE TO LIVE or DO-RE-MI-FA
GIRL.
In CHARISMA, Yoriko Douguchi brilliantly plays a
highly ambiguous role of Chizuru.
I like her in this film so much that I gaze in
awe at her whenever I watch it.
I'm afraid to ask you this simply, but what is
Yoriko Douguchi to the entire body of the film
CHARISMA?
Jerry White: I completely agree with you -- this
is my favorite Yoriko Douguchi role.
I absolutely love her in that film, and she looks breathtaking,
too. In fact, that may be my
favorite Kiyoshi Kurosawa character ever!
As to her
purpose in the overall movie — that’s a tough one.
CHARISMA allows so many different
interpretations, but I think the forest in that film works as a microcosm of the
world as a whole,
with each of the characters representing various
elements.
The botanist (who
wants to kill Charisma and maintain the status quo) represents order, whereas
her sister, played by Yoriko Douguchi, represents chaos.
She also provides temptation for the
detective, making his decision of which side to choose that much more
difficult.
If you depict Yoriko Douguchi to those who have
not known her yet (for example, American people who seldom watch foreign films),
what do you think you would say?
Jerry White: There is something about Yoriko
Douguchi that is infinitely watchable.
In fact, when she’s on the screen your eyes are drawn to her (this is
even true in the SUIT YOURSELF OR SHOOT YOURSELF films, despite the fact that
she has a minor role).
I’m not
sure why this is, exactly. There’s
something very mysterious about her.
It has been 25 years since Yoriko Douguchi
started her career with "The Excitement of the Do-re-Mi-Fa Girl". In November, there is a 2 week long
"film festival" for Yoriko Douguchi.
Do yiou have a message to
her?
Jerry White: Congratulations! I’m so happy that your work is being
given the respect and appreciation that it deserves.
Even here in
(October, 2009 via
e-mail)
Yorikolab would like to express special thanks to
Mr. Jerry White and Stone Bridge Press.