Ogawa/Peng's Red Persimmons in NY
Mark Nornes
amnornes
Mon Mar 1 10:52:09 EST 2004
Howdy,
Film Forum will be showing Ogawa Shinsuke's posthumous film,
co-directed with Peng Xiaolian.
Here is the info:
Red Persimmons Wanderings
Directed by Ogawa Shinsuke & Peng Xiaolian
Japan 2001 90min. in Lapanese with English subtirles
March 31 - April 6
1 week
1:00, 2:45, 4:30, 6:15, 8:10, 10:10
FILM FORUM (209 WEST HOUSTON STREET, NEW YORK, NY 10014)
(212)727-8110 www.filmforum.com
Admission:?10 non-members / $5 members
And here is a short section from my Ogawa manuscript on the film.
Markus
Piles of Persimmons
The other film that went into production at the end of the decade was
Peng Xiao-liang?s Manzan Benigaki (which might be translated Piles of
Persimmons; the initial title was Benigaki henreki, or Red Persimmon
Wanderings, 2001). Shiraishi was the driving force behind this film, a
project that began a few years after Ogawa?s passing. In essence, it
completes a film where Ogawa left off, as it finishes one of the
segments from Sundial of a Thousand Years which Ogawa dropped on the
cutting room floor.
In 1984, Ogawa Productions collected stories about persimmons, one of
the delicacies Yamagata is known for. Each fall around the time the
leaves change, the persimmons ripen to a deep red-orange. They remain
on the trees long after the leaves have been dropped, making for a
spectacle of bare branches decorated with persimmons, fireworks of
fruit covering the mountainsides. They shot most of the footage they
needed, and Ogawa got as far as organizing the footage into a rough
outline, first on paper and then in a rough cut of their footage.
However, by this point they already knew they had a massive film on
their hands and something had to be taken out. The first cut of Sundial
of a Thousand Years was extremely rough, and members joke that would
have taken days to screen; apparently, it was some 10 hours in length.
The second, finer cut was about five and a half hours long, two hours
away from the final running time. Twenty minutes of this was Ogawa?s
initial version of the persimmons story. Something had to go and this
was one of the sections they decided to drop, much as it hurt to do so.
Ogawa shelved his four hours of rushes, but always considered it a pet
project on the back burner. He wrote a detailed continuity and intended
to return to it before his illness cut all plans short. Shiraishi
revived the project in the mid-1990s--perhaps as a way of resurrecting
her filmmaking collaboration with her husband--and called Peng
Xiao-liang in from Shanghai to direct.
It was an appropriate choice, since this was one of the directors Ogawa
stakes much hope on in his turn outward to Asia. Peng was one of the
women directors that emerged in mainland China?s 5th generation, and is
well-known for her films Three Women and ____. She first met Ogawa at
the Hawai?i International Film Festival in 1988, which was,
interestingly enough, the event where I met both directors. Later, she
caught up with him once more at the Turim International Film Festival,
where she was able to watch Sundial of a Thousand Years. Impressed, she
began to consider attempting some kind of docu-drama herself. When
Ogawa heard this, he encouraged her to attempt a full-fledged
documentary in this mode and to shoot it in Japan.
Over the next couple years, they corresponded while Peng developed her
idea as a graduate student at the New York University film school. She
wanted to make a film on Chinese students who were studying at Japanese
universities, and the title was to be My Dream Japan. Ogawa liked the
idea, especially for the way it tied the contemporary flow of Chinese
immigrants into Japan to the previous (forced) movement of Chinese
during World War II. Ogawa started contacting critics and other people
to create a working committee for the project, and Ogawa and producer
Fuseya completed the complicated process of securing a long-term visa
for a Chinese national. Despite their financial straits, they provided
Peng an airplane ticket and allowed her to stay in the Ogikubo
apartment while initiating the research for her film. Unfortunately,
Ogawa became sick in the middle of this project and it was never
finished.
However, the experience had an enormous impact on Peng. She eventually
returned to mainland China, making films for the Shanghai film studio
and writing books and essays. In 1996 she published a book about her
encounter with Ogawa. Entitled Burning Attachment, it uses two intense
relationships to discuss the her feelings toward Japan. Like many
Chinese, Peng harbored a strong dislike for Japan, thanks to both the
violence of Japan?s wartime invasion and also to the continual
retelling of these stories of horror. Peng?s family was deeply affected
by the wartime experience. Both her mother and father were arrested,
and her mother was particularly mistreated while in Japanese hands. The
first part of the book explores how this lead to Peng?s hatred of the
Japanese. The second discusses the way she met Ogawa, lived in their
apartment with the crew, and she learned to change her attitude about
Japan. A French producer has actually inquired about the possibility of
adapting the book into a feature film.
Peng?s deep admiration for Ogawa made it difficult to accept the
assignment to finish the film on persimmons. The continuity that Ogawa
produced was very much in the spirit of Furuyashiki Village and Sundial
of a Thousand Years. On the surface it is a film describing the details
of persimmon farming, punctuated by amusing storytelling from various
villagers. For example, one old man ends a discourse on persimmon
farming with a story about the first American soldiers to reach the
village in the fall of 1945. Tempted by this good looking fruit, they
stole some off the trees and took a bite. Much to the amusement of the
farmers, the Americans immediately spit the fruit out, not knowing that
persimmons are remarkably astringent before drying. The old man laughs
at the memory and finishes off the story with clever symmetry. The
Americans left cans of ketchup with the villagers, who had no idea how
to cook with it. They tried eating the ketchup with spoons, and then
immediately spit it out and fed it all to the livestock. As in previous
Ogawa Pro films, this storytelling breathes historical life into the
present-day images of nondescript villages. Furthermore, the stories
serve to underline larger issues without resorting to pedantic,
expository modes of documentary. In these persimmon orchards, they
discover the dawning of modernity in village Japan. The parade of
elderly farmers narrate the mechanization of persimmon farming, and how
a simple fascination with new machines underwrote a massive shift in
daily life.
Ogawa begins by introducing the basic process of peeling and drying the
persimmons, starting with the traditional way of peeling with a knife.
An old woman demonstrates how easy it was to cut one?s thumb back in
the 1920s, when her new mother-in-law taught her how to do it. Then she
shows a notched knife that pivots around the persimmon?s stem for more
control, an invention fabricated by her husband for the sake of her
thumb. After this, much of the film is devoted to the elaboration of
more efficient methods through mechanization. They interview an elderly
man who invented a peeling machine back in 1931. Basically, he took
bicycle parts to a local blacksmith. The end product looked like a
small stand with a handle driving bicycle gears that rotate a persimmon
impaled on a spindle. As the persimmon spins they simply draw a small
blade across the surface of the fruit, enabling them to peel it with a
couple turns of the handle. By the end of the film, other farmers have
invented electric peelers elaborating the initial idea.
Just as Sundial of a Thousand Years was ultimately about finding the
universe in a typical rice paddy, Manzan Benigaki strove to discover
the dawn of modernity in Yamagata in its orchards. The inventor of the
first peeler describes how he was ?machine mad.? And it was thanks to
this thrill with modernization that persimmons could be produced in
large enough quantities to become a major cash crop. One scene shows a
broker in the present-day negotiating a price with a distant buyer over
the phone, and then coming to an agreement with a local farmer over a
space heater and sake. This is followed by an interview with an old
woman who tells a story about how her mother became the first persimmon
broker back in the 1910s. Through this process detailed in the film
largely through storytelling, these small Yamagata villages come to
engage in the national economy, a market that drives them to spend
valuable labor on packaging and waste incredible amounts of food
because the shape of the fruit by not be just right.
The film also has the self-reflexivity of Ogawa?s Sundial of a Thousand
Years. One of the most memorable scenes is set during the photography
of a time-lapse sequence at a huge drying rack. As Nosaka and Ogawa
patiently stand around the camera, clicking frames off at regular
intervals, an old farmer strolls up and they introduce themselves: ?Oh,
you?re Ogawa from Magino?? asks the old man, ?You?re famous!? Their
conversation swiftly turns into one of Ogawa?s interviews, showing the
director?s knack for provoking fascinating conversation from villagers.
When Ogawa says he heard this village was famous for its dried
persimmons, the old man starts sharing his intricate knowledge about
the reasons why--why the sun, wind, and soil are just right, why there
are dry conditions and little mist, why all the factors that go into
good persimmons happily converge on this particular spot. The sequence
ends with the footage they were shooting in time lapse, showing the
shadows of a thousand persimmons shifting with the arcing of the sun.
Peng builds Ogawa?s approach to reflexivity into her own film. The
scenes bookending the film turn us to both Ogawa and the farmers. In
the introduction, Peng and her crew set up a portable screen and watch
the rushes they had to work with. At the film?s end, a flatbed editor
shows freeze-frames of familiar faces from the film we just watched.
Subtitles mark the year each person died. The last face is Ogawa?s.
Because so many of the people in this film had passed away between the
initial filming and the film?s realization, the project took on a
solemnity that appeared to paralyze Peng. Shiraishi had envisioned a
50-50 mix of Ogawa?s and Peng?s footage, with the latter commenting
somehow on the former. However, during the shooting the Chinese
director was torn over her relationship to the earlier footage. It was
intimidating to deal with the film of someone she respected so much.
Thus, in the process of translating Ogawa?s continuity into Chinese,
Peng converting it into her own rough script, and translating this back
again into Japanese, the contours of a frame became distinct. Peng felt
compelled to suppress her power as director and retain Ogawa?s vision
as closely as possible. She and her cinematographer Jong Lin (Wedding
Banquet, 1992; Eat, Drink, Man, Woman, 1994) studied Tamura?s work,
imagining they were his disciples. Even though 60 to 65% of the footage
was shot by Tamura, one cannot tell where Tamura?s footage stops and
Lin?s begins. The only trace of Peng is relegated to the reflexive
homages book ending the film. While Privilege has the ironic feeling of
being Ogawa Pro?s last film, Manzan Benigaki actually leaves one with
the impression that Ogawa channeled himself through Peng. Indeed, My
Dream Japan was the closest Ogawa came to his dream of a pan-Asian
documentary scene. With Manzan Benigaki, Peng accomplishes more than
simply bringing Ogawa?s film to completion. She also stands in for the
pan-Asian collective Ogawa hoped for--Ogawa?s Dream Japan.
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