‘Yukikaze' turns fabled warship into floating snoozefest
This fabled vessel has also been valorized in a ghastly 1964 Shochiku film, 'Destroyer Yukikaze,' starring comic actor Isamu Nagato, and played a crucial (if perhaps ahistorical) role in Takashi Yamazaki's 'Godzilla Minus One' (2023). Yamada's movie has little in common with the former, save for the fact that both were produced with the cooperation of Japan's Defense Ministry and shy away from the ugly realities of combat.
'Yukikaze' gets off to a bracing start with a scene of bloodied bodies strewn around a Japanese ship during the Battle of Midway in 1942. However, this is a film that treats war mostly as an abstraction, plotted out on campaign maps and discussed in staid meetings among the navy's top brass. Battle scenes are confined mostly to the ship's bridge, interspersed with repetitive shots of gunners blasting away at oncoming aircraft.
Anyone hoping for an epic spectacle in the vein of Junya Sato's 'Yamato' (2005) or Yamazaki's 'The Eternal Zero' (2013) — both problematic though undeniably entertaining movies — will be disappointed. 'Yukikaze' is a more circumscribed affair with subpar visual effects that appear to have been rationed out by the millisecond.
In this fictionalized retelling full of scenes designed to appease the sensibilities of modern audiences, you could be mistaken for thinking the eponymous destroyer had been on a humanitarian mission. Yutaka Takenouchi stars as the benevolent Capt. Kazutoshi Terasawa (modeled on the real-life Masamichi Terauchi), who espouses progressive views about the sanctity of life and backs them up by sticking around during battles to rescue survivors from the sea.
He's assisted by a jovial cast of character actors and the strapping Kohei Hayase (Hiroshi Tamaki), the ship's senior enlisted sailor and de-facto alpha male. The latter becomes a father figure to new arrival Sota Inoue (Daiken Okudaira), whom he first meets after plucking him from the water at Midway. It's all awfully chummy, with little sense of hierarchy between the crew — and certainly none of the corporal punishment depicted in 'Yamato.'
The film gets some added sugar from a superfluous subplot about Kohei's younger sister, Sachi (Ami Touma). Kazutoshi also has a wife, Shizu (Rena Tanaka), and young daughter back home, though he spends far more time poring over a photo of his old naval academy pals who have all predeceased him.
It makes for a drab and soporific drama, but 'Yukikaze' ascends to true awfulness during its epilogue, in which it cycles through a series of possible endings, each more ill-advised than the last.
We get pixelated footage of the 1970 Osaka Expo to represent Japan's postwar recovery, a drone shot of the parade grounds at a present-day Maritime Self-Defense Force academy and a flash-forward revealing that Kazutoshi's daughter (played by Kasumi Arimura, in a big-name cameo) has grown up to become a rescue worker herself.
The nadir is a scene of the Yukikaze's crew waving from the deck of the ship as they deliver a message to viewers, the gist of which is: Hey, Japan! We're watching over you!
They may be disappointed to find that many of those viewers have already dozed off.
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Asahi Shimbun
5 hours ago
- Asahi Shimbun
Noted manga artist finally opens up about war experience
Having spent part of his childhood in northern China, manga maestro Tetsuya Chiba knew firsthand about the horrors of war and its aftermath. Yet, he ignored the subject for many years. 'I never thought my memory of war would become material for my manga,' said the creator of 'Ashita no Joe' (Tomorrow's Joe). 'War is nothing but sadness as well as ghastly and barbaric. I considered manga to be something that would energize the reader and allow them to lead a good life from tomorrow like the protagonist.' But Chiba, 86, now firmly believes that manga has the power to build peace. It took him decades to reach that point. For years after making his debut as a manga artist at age 17, Chiba did not dip into his wartime memories despite his experiences in what was then Manchuria. But his thinking changed around the mid-1960s when war manga became all the rage. 'All the works depicted the protagonist as a hero,' said Chiba, the first manga artist to be awarded the Order of Culture. 'They shot down enemy fighters, sank battleships and returned to base with a sense of fulfillment. That really caught me by surprise.' He recalled thinking that if children read violent manga, they would get the mistaken impression that war was cool. Between 1963 and 1965, he serialized 'Shiden Kai no Taka' (The hawk of Shiden Kai fighters). The protagonist, Jotaro Taki, was a pilot of the Shiden Kai fighter of the Imperial Japanese Navy. NEW REALISM What made Chiba's works stand out was the way he depicted not only the successes and heartaches encountered by the Japanese pilots, but also the American families who lost loved ones due to the bombings by the Japanese planes. He wanted to show that war is a tragedy for all sides. 'Even if I say I know about war, it was only a little since I was a child,' the artist said. Before drawing the manga, Chiba made a point of doing extensive research, visiting bases around Japan and reading the accounts of soldiers who survived as well as those who died while still young. He said it was a heartbreaking experience. When writing the war manga 'Shiden Kai no Taka,' Chiba decided the protagonist, Taki, needed to have a girlfriend as well as a mother he cherished dearly. 'I thought about what kind of life he would lead,' Chiba said. 'I thought he would likely become a good elementary school teacher. But it became difficult when I kept thinking about it, and there were nights when I could not get to sleep.' In the end, Taki is ordered on a suicide kamikaze mission. 'Even if he had a goal in life, he must perish by becoming a human bomb at the order of his superior, even if it was for the good of the nation,' Chiba said. Even after drawing that manga, Chiba never touched upon his own wartime experience. He remembered being thrown into the chaos of the war when it ended on Aug. 15, 1945, as local Chinese began rioting with the approach of Soviet forces. It was also bitterly cold. He felt close to death all the time. Chiba recalled playing with a friend only to find he had died during a sudden attack while right next to him and that flies had gathered over the body. He managed to board a ship taking Japanese home and noted that many passengers died on the voyage to Japan. The bodies were wrapped in cloth and dumped overboard. Those images remained etched in Chiba's mind, even when he was busy drawing several serialized manga simultaneously. The depiction in 'Ashita no Joe' of a boxer trying to make his weight before a fight coincided with Chiba's own feelings of hunger aboard the ship that brought him back to Japan. Childhood memories of the war returned when Chiba drew scenes for his manga about the Korean War. He said his experiences in Manchuria prior to returning to Japan gave him the footing to flourish as a manga artist. A Chinese friend of his father's allowed Chiba and his siblings to live secretly in an attic. Chiba came up with stories and drawings to entertain his younger brothers. 'That experience created the foundation for me as a manga artist,' Chiba said. 'I realized then that everything was connected. By that I mean during and after the war.' In his current serialization 'Hinemosunotari Nikki' (Diary at a languid pace), Chiba has drawn upon those war experiences. Due to failing eyesight, Chiba said he needed a magnifying glass to draw. With every deadline, he thought it might be the last manga he ever drew. But he took satisfaction in knowing that noted manga artists such as Shigeru Mizuki and Takashi Yanase drew well into their 90s. So, he reckons he has a few more years left. Chiba is also impressed by the works of younger manga artists who have created works based on the wartime experiences of their parents and grandparents. 'It is very difficult for those with no direct knowledge of war to research and draw in detail,' Chiba said. 'I am heartened and grateful that there are younger artists willing to take on that difficult task.' In his view, manga can contribute to a better world. 'If manga artists around the world drew works about what they thought about war, and if children who did not know about war read those manga, I am hopeful that when they grow up, they will share good ideas,' he said.
Japan Times
15 hours ago
- Japan Times
Atsushi Kitagawara's exhibition finds poetry in architecture
Architect Atsushi Kitagawara has always wanted to be a poet of architecture. '(Figures in) literature, art and philosophy, such as Stephane Mallarme and Marcel Duchamp, who defined the nature of modern art, are crucial elements that inspire my designs,' says Kitagawara. 'I create architecture with the dream of one day becoming a poet like Mallarme.' Kitagawara, 73, is professor emeritus at the Tokyo University of the Arts, where he taught until 2019 encouraging students to pursue experimental approaches to architecture under the banner of 'theatrical urban planning.' This perspective has distinguished Kitagawara from his peers, particularly through an architectural language that incorporates influences from various disciplines across the art spectrum. His artistic sensibilities are now on view at ' The Constellation of Time and Space ,' the architect's first solo exhibition showcasing his life's work. The year-long retrospective runs through to May 17, 2026 at the Nakamura Keith Haring Collection in Hokuto, Yamanashi Prefecture. Designed by Kitagawara, this building houses the only Keith Haring museum in the world and it is the only queer museum in Japan . Since admission includes the museum's permanent exhibition, visitors are able to immerse themselves in Haring's work before stepping into Kitagawara's world, granting them a comprehensive view of the symbiotic relationship between art and architecture that characterizes his work. The Nakamura Keith Haring Collection museum is built among lush nature, on the slopes of Mount Yatsugatake in Yamanashi Prefecture. | COURTESY OF NAKAMURA KEITH HARING COLLECTION In addition to running his architecture office, Kitagawara is professor emeritus at the Tokyo University of the Arts, where he taught until 2019. | © TOHA, COURTESY OF NAKAMURA KEITH HARING COLLECTION 'While this exhibition introduces my architectural ideas, it also interprets the design of the museum itself,' Kitagawara says.'I hope that visitors will gain a deeper understanding of the exhibition by first experiencing the building's architecture.' The Nakamura Keith Haring Collection building includes the six distinct architectural elements — inverted cone, darkness, giant frame, nature, hope and colliding walls — which are also framed as themes for each of the sections of the exhibition that introduce Kitagawara's ethos, essentially creating a meta-retrospective where the venue is at once a main and supporting character. Other materials on display — over 100 of them — include an ongoing series of drawings and diverse architectural models, some of which contain verses such as excerpts of Mallarme's poem 'A Throw of the Dice will Never Abolish Chance.' There are depictions of Kitagawara's first project, the now-demolished House of Nadja built in 1978, an attempt to translate the essence of Andre Breton's novel 'Nadja' into architectural form. There are also items that helped shape Kitagawara's creative identity, from butterfly specimens collected during his childhood in rural Nagano Prefecture to books that inspired his design aesthetic. Architecture constellations Kitagawara waxes poetic when asked about the name of the exhibition: 'In my head, there are countless ideas scattered like stars,' he says. 'At certain moments, they connect by chance and come together as a piece of architecture. In other words, all the architecture I have designed so far is interconnected.' A prominent display in the exhibition showcases the initial plans for the Nakamura Keith Haring Collection museum where each section was imagined as a separate building, creating a cluster of structures that would have required visitors to walk outside to reach each one. The plans were changed so the sections became elements of a single building, but the surrounding area contains its own constellation of Kitagawara works, of which the museum is the main star. Kitagawara also designed Hotel Key Forest, located within walking distance from the Nakamura Keith Haring Collection museum. | © SHIGERU OHNO The asymmetric angular shapes in the hotel's facade are reflected on the inside as well. | ©️TOHA A short walk from it is Hotel Keyforest Hokuto , offering luxury boutique accommodation and a cozy interior in a building of asymmetric trapezoid shapes, their sharp edges idiosyncratically extending in different directions. Visitors arriving in the area by train will pass through Kobuchizawa Station , another of Kitagawara's designs, which blends in with the area's natural volcanic landscape through its brown color scheme and effective use of wood. 'Earth, people, architecture: I pursue a balance between these three,' he answers simply when asked what his vision for architecture is. Kitagawara's buildings in Tokyo stand out from the rectangular office structures. He employs curved lines as exemplified in the Japanese Centre of International P.E.N. and Shibuya's Cinema Rise — the building that first brought him international attention — which also pays homage to surrealism with its melty iron curtains facade, giant mirrors and sculptural peacocks. Passing the torch The exhibition marks a turning point in Kitagawara's career. He's stepping back from leading his studio (although he will stay on as an adviser), which has undergone a rebranding that drops his well-known name, a rare occurrence in the world of architecture. The studio, now named MET Team Architects , is led by three partners in a collaborative setup: Motomi Nishiuchi, Angel Estevez Calvo and Tomohiro Kitaguchi, who all formerly worked under Kitagawara. The Kitagawara studio is now named MET Team Architects, one letter for each of the three partners that lead it: Motomi Nishiuchi, Angel Estevez Calvo and Tomohiro Kitaguchi. | COURTESY OF MET TEAM ARCHITECTS 'All three of them have distinct personalities,' Kitagawara says. 'Through inspiring and challenging one another they're capable of producing interesting works together. It's a bit of an old-fashioned expression, but I would call it Aufheben,' he says, citing the German word used by philosopher Georg Hegel to mean both preserving and changing. Shedding the Kitagawara name presents both opportunities and challenges for the new studio. 'From a company perspective, moving away from the Kitagawara brand might have its drawbacks, but he wanted to support the next generation,' says Estevez, a Spaniard who now finds himself leading one of Japan's premier architecture firms. While charting their own course, the three architects are set in keeping the bottom-up approach that nurtured them. 'Kitagawara ran his office like his design studio at the Tokyo University of the Arts,' Kitaguchi says. 'It was a creative space where innovative ideas could spark from anyone, no matter their role, and everyone was encouraged to propose new ideas. That's the kind of environment we aim to maintain.' The original drawings for the Nakamura Keith Haring Collection museum on display show Kitagawara's initial plans for separate buildings that would have required the visitors to walk outside the forest. | COURTESY OF ATSUSHI KITAGAWARA AND THE NAKAMURA KEITH HARING COLLECTION MUSEUM The trio is already hard at work on diverse projects across Japan and the world, including the masterplan for the 6.5-hectare plaza at a new station in the Nagano area for the upcoming Chuo Shinkansen maglev line. Still, taking over from someone as prominent as Kitagawara is a significant responsibility, Nishiuchi says. 'It feels heavy on our shoulders, but fortunately, we're a team of three that share the responsibility. The fact that we've been working together for a long time makes it easier.' Kitagawara agrees, quoting a Japanese proverb: 'Three heads are better than one.' 'I want the young architects who have been working alongside me over the years to be able to spread their wings and create freely,' he says. 'The Constellation of Time and Space' runs through May 17, 2016. For more information, visit
Japan Times
a day ago
- Japan Times
80 years on: beyond A-bombs, grandchildren unite for nuclear-free world
A Japanese woman and an American man whose grandfathers experienced the U.S. atomic bombings of Hiroshima and Nagasaki from opposite sides have forged an unlikely collaboration to publish a book calling for a world free of nuclear weapons. One co-author is Kosuzu Harada, 50, a Nagasaki resident and the granddaughter of a double hibakusha, a survivor of both the Hiroshima and Nagasaki atomic bombings. Her collaborator is Ari Beser, 37, the grandson of a radar operator who flew aboard the U.S. B-29 bombers — Enola Gay, which dropped an atomic bomb on Hiroshima on Aug. 6, 1945, and Bockscar, which released one on Nagasaki three days later. Published in July, their book is titled "Kinokogumo no Ue to Shita no Monogatari" (Stories from Above and Below the Mushroom Clouds). It carries the English subtitle "From above and below both mushroom clouds, we became friends." The co-authors share a belief in the importance of people getting to know one another and engaging in dialogue to build "better relationships" and, ultimately, to "realize a world free of nuclear weapons," Harada said. Harada's grandfather, Tsutomu Yamaguchi, died in 2010 at the age of 93. Through his writings and lectures, he recounted his experiences as a survivor of both atomic bombings in the closing days of World War II and conveyed the horrors of nuclear weapons. To carry on his legacy, Harada visits elementary and junior high schools across Japan, sharing his story with students. Beser's grandfather, Jacob, died in 1992, age 72. Beser said he remembers his elementary school teacher saying: "Oh, everybody knows what your grandfather did. He took part in the mission that ended the war." Harada and Beser first connected in 2013, after Beser reached out to her. Harada said that when approached, she first thought of her grandfather, who had suffered lasting aftereffects of the atomic bombings, and "was confused about how to respond." She recalled, however, that her grandfather had lectured in the United States and left behind the message that "nothing is born from hatred." She said she decided to meet Beser, thinking that "my grandfather would surely face this." When Beser came to Japan, Harada watched him listen earnestly as a filmmaker to the testimonies of atomic bomb survivors in Hiroshima and Nagasaki. She realized his commitment to a nuclear-free future was genuine. Beser returned to Nagasaki every year. With each visit, "our bond grew stronger, and we had opportunities to give joint lectures at schools and companies advocating nuclear disarmament," Harada said. The book traces their grandfathers' lives, drawing on memoirs and other sources, and includes correspondence between Beser and Harada. "I think readers will understand the differences in thinking between the victim's side and the perpetrator's side, as well as between us as grandchildren," Harada said. The co-authors said it was their sustained dialogue that helped them find common ground. After 80 years, fewer people remain to share firsthand accounts of the atomic bombings. "It's time for the next generation to inherit this story so we decided to share" it, Beser said.
