[KineJapan] Rafelson in Japan Inquiry

[Roger Macy]

Hi, Markus,

In the absence of anycomment from someone with direct knowledge, I’d just like to say to Vincentthat Bob Rafelson’s claim to have had a hand, and a voice, in film translationof Japanese films into America seems entirely credible to me. These old translations,even if they are in any way preserved, are largely out of circulation andundocumented so it’s a useful historical note.

But his claim, to being “single-handedlyresponsible for repressing some of the greatest movies ever made”, is surely anexaggeration, and an ironic one, I think, in the use of ‘single-handedly’. Istill occasionally get told by Japanese that Ozu can only be understood by theJapanese, and the view was much more widespread some sixty years ago. He wouldhave been chiming with the accepted studio view at the time.

Roger


    On Friday, 6 July 2018, 01:44:12 GMT+1, Markus Nornes <nornes at umich.edu> wrote:  
 
 An old student of mine, Vincent Longo, is writing about Rafaelson. He stumbled on the fact that the director spent time in Japan in the late 1950s. He was in the Army, but surreptitiously working as a film critic on the side. I'd heard this somewhere, and Vincent has come up with an old interview where the director mentions it. Can't remember where, tho. Unfortunately, Donald can no longer help. 
Vincent asked me to ask you folks if anyone has any other leads. His message follows. Relevant section of interview attached.
Markus
++++++++++++++++++++++++++++++ ++++++


Dear Markus,
I wanted to see if you could help situate some interesting findings of mine that involve some peculiar findings which you might be the only person to properly explain. They involve Ozu, Donald Richie, and Bob Rafelson; the latter famous for FIVE EASY PIECES and The Monkees among other things. I am currently finishing an essay on his 1970s work for an Edinburgh U press anthology.

I have attached the two pages in question. I do not think much explanation is needed other than this interview was from 1976 and I have found Rafelson’s accounts of almost everything else accurate and with minimal exaggeration. With my little knowledge of how Japanese films were translated or distributed to the US, I am not sure whether to believe this or even how I could look into it further.

Any help is greatly appreciated!

Many thanks,

Vincent
--- --- 
Markus NornesProfessor of Asian CinemaDepartment of Screen Arts and Cultures, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design
Department of Screen Arts and Cultures6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285
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