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Japan Forward
3 days ago
- Entertainment
- Japan Forward
Kokuho and the Price of Greatness in the World of Kabuki
When we think of summer movies, we normally think of action extravaganzas with big-name stars or animated features to appeal to children. However, as of July 6, the box office leader in Japan was Kokuho ("National Treasure"), a movie set in the world of kabuki. Since its release on June 6, it has been seen by well over 2.5 million moviegoers. It has also generated cumulative box office revenue of nearly ¥4.5 billion JPY ($28.6 million USD). In fact, it is the highest-grossing live-action Japanese film so far this year. Kokuho is a complex story whose central character is Kikuo Tachibana (Ryo Yoshizawa), the son of a Nagasaki yakuza whose father was assassinated by a rival gang when he was only 14. The boy was taken in by a famous Osaka kabuki actor named Hanjiro Hanai II, played by veteran actor Ken Watanabe, to train alongside his own son, Shunsuke (Ryusei Yokohama), to become an onnagata. Onnagata (also called oyama ) are males who specialize in female kabuki roles. They are not female impersonators, as they do not seek to mimic women. Instead, they aim to symbolically embody feminine grace and style. The onnagata tradition dates back to 1629 when the Tokugawa Shogunate banned women from appearing on stage. To compensate, actors developed a highly stylized approach to portraying female roles. This practice has shaped the aesthetics, principles, and acting styles of onnagata over the centuries. In the Edo period (1600-1868), the world of kabuki was highly hierarchical, reflecting the general social structure. Professional acting families came to claim certain roles as their own. Shunsuke is an accomplished onnagata and is expected to be named his father's successor. However, Kikuo is by far the more innately talented, and Hanjiro decides to name him as his successor. The two boys have been brought up more or less as siblings, and their rivalry is emotionally complex. In the end, it is Kikuo who becomes the supreme onnagata, a national treasure. But to reach that pinnacle, he has sacrificed his family, friends, patrons, and even his own identity for the sake of his art. Perhaps it was less a case of will than fate. The movie is based on a novel of the same name by Akutagawa Prize-winning author Shuichi Yoshida. A native of Nagasaki, his stories, some of which have been translated into English, are often set in that area. While researching Kokuho , Yoshida immersed himself in the way of kabuki, and the two main actors trained with kabuki veterans for over a year. Many kabuki actors have praised both the novel and the movie for their authenticity. The director is Lee Sang-il, born in 1974 in Niigata Prefecture. He previously directed several acclaimed movies, including Hula Girls (2006), which was a big hit, and the 2010 crime noir film Akunin ("Villian"), based on another Yoshida novel. Besides fine acting, the movie offers dazzling photography that captures the beauty of the gorgeous costumes and elegant dances, as well as the nuances of the performances. The cinematographer is Tunisia-born Sofian El Fani, whose credits include the 2013 film Blue is the Warmest Color ( La Vie d'Adèle – Chapitres 1 & 2 ) and Timbuktu (2014). Poster for the film Kokuho©Shuichi Yoshida / Asahi Shimbun Publications ©2025 Kokuho Film Production Committee In some ways, Kokuho bears comparison to the famous 1993 China-Hong Kong film Farewell My Concubine , directed by Chen Kaige, which won the Palme d'Or at Cannes in 1993. Both movies span a half-century of modern history, centering on the love-hate relationship between two male actors and the blurred lines between the mundane world and life on stage. It is also interesting that in the 1939 film Zangiku Monogatari ("Story of the Last Chrysanthemum"), directed by Kenji Mizoguchi, the central character is another onnagata. He is the adopted son of a kabuki master named Kikunosuke. In fact, prior to the 1920s, Japanese filmmakers had followed the kabuki convention of using onnagata. At first, the connection between kabuki and the yakuza might seem farfetched. However, during the Edo period, both the yakuza and kabuki performers were considered beyond the pale. In fact, kabuki actors were considered outcasts ( kawaramono ) who were not permitted surnames and were categorized as hinin (non-persons). Theaters were geographically isolated from city centers and located near the pleasure quarters. The government regularly issued sumptuary edicts regulating costumes and even dictating which colors could be used. Kabuki began as a kind of variety show staged by itinerant entertainers. Even after it became an incredibly popular and sophisticated dramatic form performed in specialized theaters, it retained its spirit of rebellion. In kabuki, the bizarre, shocking, sensual, and erotic have always been prized. The results frequently met with the wrath of censors. In many cases, dramatic tension was created by emphasizing conflict between Confucian values such as duty, honor, and filial piety in conflict with human passions. Not surprisingly, like the Noh theater that predated it, Buddhist themes of mujo (impermanence of all things) were also prevalent This is reflected in the kabuki performances in Kokuho . For example, Kikuo and Shunsuke perform the dance Ninin Dojoji together, which is based on a famous Noh play. In the origin story, a jealous woman turns herself into a giant snake, which wraps itself around the temple bell in which her fickle priest-lover has hidden himself. The heat of her jealous passion burns him to death. In their final joint appearance on stage, Kikuo and Shunsuke perform the masterpiece Sonezaki Shinju ("Love Suicide at Sonezaki"). Sonezaki Shinju was originally a Bunraku puppet play written by the famous playwright Chikamatsu Monzaemon. First performed in Osaka in 1703, one month after the actual suicide on which the play was based, the sensational play sparked a wave of love suicides ( shinju ), which brought a crackdown from the Shogunate. Nonetheless, this moving drama enjoyed a great reputation. In fact, it started the sewamono genre of contemporary plays, which dealt with commoners. Although it was revised into kabuki form, the play was seldom performed before World War II. It was revived in 1953. Still from the film Kokuho©Shuichi Yoshida / Asahi Shimbun Publications ©2025 Kokuho Film Production Committee Sonezaki Shinju tells the tale of Tokubei, an assistant at a soy sauce store who has been swindled out of his master's money, and the prostitute Ohatsu who loves him. The scene in which the lovers depart on their final journey together is extremely moving. In fact, the specter of death runs throughout Kokuho . During the opening sequence, a New Year's party at a fancy restaurant in Nagasaki hosted by the Tachibana-gumi is suddenly invaded by their enemies. Kikuo watches in horror as his father is murdered in a rock garden, with snow falling around them. Before being mortally wounded, his father, Kengoro Tachibana, defiantly pulls down the shoulder of his kimono to reveal the tattoo of a mimizuku owl. He then turns in Kikuo's direction and shouts, "Watch this well!" This snowy scene becomes indelibly embedded in Kikuo's memory. After the murder, Kikuo has the same kind of tattoo emblazoned on his back. He, too, has symbolically committed himself to the world of darkness. The finale of the movie features Kikuo performing the dance Sagimusume ("The Heron Maiden"), considered one of the most challenging kabuki dances. The dance involves several transformations through costume changes. As the performance unfolds, the mood gradually darkens. An initially innocent young girl becomes a slave to the passions of love, desire, and betrayal — until she ultimately finds herself literally tormented in hell. She dances frantically to stay alive, but in the end, amidst falling snow, she succumbs, collapsing in death. Only the most accomplished onnagata dare perform Sagimusume , as it takes the performer to the boundary of the realm of the "other world" — where ultimate beauty resides beyond the reality we know in our daily lives. Kokuho is a fascinating movie. And its success shows that the Japanese people still appreciate their traditional culture. Foreigners should, too. Author: John Carroll
Tokyo Weekender
11-07-2025
- Entertainment
- Tokyo Weekender
Japan's Living National Treasures: The Keepers of Traditional Culture
Japan is a country of National Treasures. From clay figurines dating back thousands of years to intricate lacquerware, mountain pagodas, castle keeps and the largest wooden building in the world, the 'treasures' of Japanese culture are aptly named because there is a wealth of them. There are even National Treasures you can talk to (which admittedly is true for all of them) and expect them to answer back (which admittedly is very rare). They are the Living National Treasures of Japan: masters of highly prized arts, crafts and performing arts who safeguard the country's traditional culture. Here's everything you need to know about them. List of Contents: Guardians, Not Celebrities Living National Treasures Must Live a Life of Creation It's a Very Exclusive Club The Future Related Posts Guardians, Not Celebrities Living National Treasures (Ningen Kokuho) are officially certified as 'Holders of Important Intangible Cultural Properties,' meaning their unique abilities. The LNT recognition by the Minister of Education, Culture, Sports, Science and Technology names a person but ultimately celebrates a skill that the honoree is preserving for future generations. That's why the LNT certifications also include categories for small and large groups of artisans. The history of the program dates back to the mid-20th century and stems from Nara's Horyu-ji temple, home to the world's oldest surviving wooden structures. After a fire seriously damaged priceless murals in the temple's main hall, the Japanese government realized that there were precious few people out there who could repair or replicate this seventh- and eighth-century art. This, plus the devastation caused by World War II, made Japan start to think that cultural heritage isn't just something you can touch. And so, in 1955, five years after the government passed the Law for the Protection of Cultural Properties, it recognized the first cohort of people who are living repositories of invaluable knowledge about everything from noh or kabuki theater to imperial court music, ceramics, swordsmithing, bamboo craft and so much more. However, their expertise cannot be purely theoretical. Living National Treasures Must Live a Life of Creation Besides bragging rights about being a National Treasure (and all the free drinks that probably gets you), recipients of the LNT certification are also granted ¥2 million per year by the Japanese government. That's about $13,500 as of June 2025. Possible to live on but far outside luxury's ZIP code. That's fine, though, because these master artists also have day jobs. They're required to. Besides mentoring apprentices and documenting their processes, LNTs must also actively be performing or showcasing their art. The government stipend only aims to cover basic living expenses so that talented people can focus on their important work and keep making contributions to art and history, like by helping restore techniques that were once thought to be lost to time. For example, Hiromichi Osaka, a woodworker and a Living National Treasure, discovered how ancient Nara artisans created intricate patterns on rosewood boxes — it turns out it was tin inlays. It's a Very Exclusive Club The maximum number of Living National Treasures is capped at 116. The only way to get on the list when it's full is to first be amazing at a traditional Japanese craft or performing art and then wait for someone whom you probably deeply admire to, well, die. (As of July 2024, there were 108 Living National Treasures.) Also, you need to be able to teach what you know to the next generation. You're likely familiar with this old saying: 'Those who can, do; those who can't, teach.' But to be an LNT, you have to be able to do both. That's why the vetting process even takes into account a candidate's number of apprentices. National Treasures are to be shared with the whole world, after all. This is the core of a big criticism that some have aimed at the program. If Living National Treasures are so important to the soul of Japan, why is there a limit on their number? This has caused some masters to be overlooked in the past simply because there wasn't room in their LNT category, even if their particular talent had a unique quality to it. Perhaps as a result, not everyone considers being named a National Treasure a great honor. In 1959, Kitaoji Rosanjin, an artist who excelled at ceramics, calligraphy and lacquerware, was named a Living National Treasure but ultimately declined the title. The Future Some may argue that a hyperfocus on tradition and history can lead to a stifling of innovation, but the Living National Treasure program isn't averse to change. In 2026, they will be adding a new category: chefs and sake brewers. There are also talks of recognizing living regional treasures so that more talent can be preserved and transmitted. The Living National Treasure initiative has also inspired programs in China, Korea, the Philippines, Australia and Ireland, so while it may not be perfect, it does seem to be putting a lot of good out into the world. Hopefully, it'll continue to do so for the foreseeable future. Related Posts Mamoru Nakagawa: Metalworker, Artist, Alchemist Nageiredo Temple: Hike to Japan's Most Dangerous National Treasure in Tottori Prefecture 3 Days in Nara: In Search of Prince Shotoku — The Man, The Myth, The Legend
Yomiuri Shimbun
20-06-2025
- Entertainment
- Yomiuri Shimbun
Masterful Acting in ‘Kokuho,' a Chronicle of a Fictitious Kabuki Star; Director Lee Sang-Il Demonstrates Ability Again
©Yoshida Shuichi / Asahi Shimbun ©'Kokuho' Film Partners A still from 'Kokuho' What is an actor pursuing when they walk the path of art? The film 'Kokuho,' directed by Lee Sang-il, chronicles the life of a fictitious onnagata, a kabuki actor who specializes in female roles. It is an extravagant film about life dedicated to art, a rarity in the Japanese film scene of late. The film is based on Shuichi Yoshida's novel of the same title, which means 'national treasure.' Bloodline is taken seriously in the world of kabuki. Star quality is usually hereditary, yet the film's protagonist, Kikuo (played by Ryo Yoshizawa), is an outsider who comes from Nagasaki Prefecture. What's more, his father is the leader of a yakuza group. However, Kikuo is blessed with radiant beauty and extraordinary talent. The story asks if his abilities alone are enough for him to climb the ladder of the kabuki world. The film follows his half-century journey from the middle years of the Showa era (1926-1989) to the Heisei era (1989-2019). The story starts in the mid-1960s. Kikuo, then an adolescent, sees his father killed by a yakuza in front of his eyes. He then moves from Nagasaki to Osaka, where he aspires to become an actor under Hanjiro (Ken Watanabe), a big-name actor of Kamigata kabuki (kabuki from the Kansai region). Kikuo trains alongside Hanjiro's son, Shunsuke (Ryusei Yokohama). Kikuo and Shunsuke, who are the same age, form a comrade-like bond. Soon an entertainment company gives them an opportunity to perform on stage together in a big production, and they quickly rise to stardom. Kikuo in particular builds a successful career at an incredibly fast rate for someone coming from outside the kabuki world. He then hits a wall. The film is a feast for the eyes, with the dramatic story intertwined with glamorous kabuki plays and dances. The spectacular production design by Yohei Taneda of 'Kill Bill: Volume 1' fame is appealing, too, including stylized beauty in the opening scene evocative of classic yakuza films. However, the film's main draw is the acting. Kikuo and Shunsuke are difficult roles to play because both characters perform scenes from various kabuki plays and dances on stage. Yoshizawa and Yokohama received a considerable amount of training before working on this film, and their commitment and dedication show on screen. As the story plays out, questions come to mind. Why do actors try to perform on stage even when it requires overcoming major difficulties? What does it give them? What lies beyond their gaze? Viewers are drawn to pursue the answers to these questions in the story of Kikuo and Shunsuke while also looking at Yoshizawa and Yokohama taking on the complicated task of playing their characters. This kind of nested structure adds a special charm to the film, and the audience is led to experience the joy that comes from the power of art, demonstrated by dedicated actors. The director, Lee, is a master at pulling out great performances from actors, which he has done in many of his films, including 'Yurusarezaru Mono' ('Unforgiven') starring Ken Watanabe, a remake of Clint Eastwood's 'Unforgiven.' Lee made the most of this great ability of his in 'Kokuho.'
