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Dogs and DemonsJapan's controlled modern life seems to offer little room for either grand drama or action thrills. If there is any hope for Japanese film, it lies in comedy, as is evidenced by the fact that the two most internationally successful Japanese films of the past fifteen years, Tampopo and Shall We Dance?, were both comedies. When a director like Suo takes Japan's bland society for his springboard, as he did in Shall We Dance?, there are rich comic possibilities. Unfortunately, very few directors are able to make Suo's leap. As Nagasaka has written, «The same narrow, insular, and complacent attitude that explains Japan's response – or better, the absence of a response – to the gulf war can be seen in the repetitive and unadventurous products of this country's motion picture industry.» Finally, there is the problem of insularity. While Japanese directors went on making movies in the vein of self-pity and fear of foreign monsters, the Chinese walked right into the lair of the Hollywood beast and won him over. Ang Lee and Emma Thompson worked together on 1995's award-winning Sense and Sensibility ...» |
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