Uzumasa raimuraito

Kamiyama Seiich is a veteran samurai actor of 40 years specializing in the drop dead role of "kirare-yaku". A young producer cancels the long-running series in favor of a more youth-oriented subject matter. This leaves Kamiyama and the bulk of his aging colleagues out of work. While Kamiyama gets sympathy from the managing director, a long-time colleague and cohort, he receives hostile and disrespectful treatment from the new generations of actors, directors, and producers. Facing a lack of work, Kamiyama is relegated to performing his kirare-yaku with his fellow aging actors live in front of tourist in the studio park performance. His performance catches the eye of a young and up-and-coming actress, Iga Satsuki. She begs him to teach her the art of swordplay. Initially reluctant, he agrees and soon comes to embrace her as his protégé. His advice to her is that if you put your best efforts forward, you will always receive help. With her training, Iga soon rises to become a top star. Eventually the park show closes forcing Kamiyama into retirement. A few years later, Iga is asked to star in a remake and reunion of the long-running samurai series that Kamiyama became famous for. Iga accepts on condition that Kamiyama play the lead kirare-yaku role. During the first take, Kamiyama flinches in his performance. The director immediately decides to cut Kamiyama's scenes and role. The same producer who eliminated the original series, ironically comes forth to overrule the director. As the actors retake their positions for the next take, the lead samurai actor asks Kamiyama if he is OK. Kamiyama replies yes but comments that his performance is "rusty." This derogatory comment sparks the best in the lead actor and the rest as the veterans once again demonstrate their experienced, well honed-in art. In the finale, Kamiyama enacts his famous kirare-yaku. It could be interpreted that his final performance was his best and also his last breath. This movie is metaphoric of the modern times when the younger generation, eager for instant fame and success without paying their dues, puts them at odds with veteran actors whom they view as threats to their job security and careers.

As the modern age takes over Japan, Kamiyama, an aging samurai and last of his breed, find himself out of work when the lord he served for 40 years gave up his title. With the Princess of Uzumasa disappearing from the public due to a humiliating rumor, the limelight of Uzumasa, a suburb of Kyoto, was on its last shine as the young people flock to the modern day Edo, Tokyo.

In the midst of a dying tradition, hope came about when a young woman of spirit and fire showed up at Uzumasa castle. Under the discipleship of Kamiyama, could she really be the savior of this town? Could she be the next Princess of Uzumasa?

A masterpiece of story telling in a timeless art form of samurai drama. This is a tale of courage, honor, and duty told through the eyes of a veteran samurai who has seen the changes in Japan for over 70 years.

Viewed at CineMatsuri 2015 and Streaming. Director Ken Ochiai's second theatrical film outing presents a one-of-a-kind story line and does so on many dramatic and technical levels. This is a tale of stunt men who specialize in supporting samurai movies shown in theaters and on TV. Like the real samurai before them, movie samurai are now all but extinct. But there is one last hurray to be had courtesy of a former novice stunt women who has moved on to become a major film star. Drifts toward melodrama and melancholy ("normally expected" given the downer subject matter) are held in check by a tight script and the Director's pro-active disciplining of his actors. Acting is exceeding professional (not surprising, since all but one are seasoned professionals). Actress Chihira Yamamoto is the exception. This appears to be her first theatrical film and acting debut. Her performance (line readings, facial expressions, body language, and physical action) is across-the-board astonishing. The movie contains slow intervals that attempt to dive more deeply into character development. Thankfully, there are only a few. The Director seems to have pursued a rigorous integration/exploitation of Japanese and American film-making cultures drawing on the best from each for the viewer's pleasure. (Likely the most successful venture of this kind to date!) As an added treat, the movie shows the functioning of behind-the-scenes production processes traditionally employed in the creation of movies by Kyoto-based studios (which are not the same as those used by Tokyo-based studios). Not unexpectedly, some processes are fairly similar to but others are quite different from contemporary methods used by American studios. During a post-showing Q&A with the Director (a graduate of two of the top film schools/programs in California), he described the challenges when confronting the super efficient Kyoto filming traditions where each scene is shot just once (with a single camera)! Cinematography (color, wide screen) and lighting are excellent. Film score is adequate (it neither over or under whelms). ADR (looping) and sound field production (5.1 channels) are very good. Western dialog (Kansai/Kyoto-Ben) is restrained perhaps to not overwhelm viewers who mostly speak/understand Toyko-Ben. Subtitles are spot on; just the right length to be read in a glance and minimize/avoid undue distractions. For what may be a first, the names of ALL above and below the proverbial line film contributors are translated in the closing credits! Worth re-watching several times. WILLIAM FLANIGAN, PhD.

A few months ago, I saw a short film that simply amazed me and was the standout film for me at the Orlando Film Festival. "Sumo Road: The Musical" was not only a very funny film that made folks laugh out loud the theater, but was incredibly creative. I can truly say that I've never seen another film like it.

It turns out that the same man who wrote and directed this brilliant short, Ken Ochiai, has recently begun making feature films as well...and his "Ozumasa Limelight" is a delight for anyone who loves samurai films or is a fan of Chaplin! Yes, I know that is a very strange combination so I'll need to digress just a bit.

In 1952, Charlie Chaplin came out with one of his greatest and most personal films, "Limelight". However, while I would rank this among the greatest films of the 1950s, audiences were left cold by the film...mostly because being a Chaplin everyone expected it to be a comedy. Instead, it's a bittersweet little drama about an aging and rather sad vaudevillian who has seen better days. He befriends a young woman who ultimately becomes a big star and, because of her gratitude, she helps her beloved mentor to have one last shining moment in the sun.

Ochiai's film is a homage to Chaplin's film. While there are many similarities and parallels between the two movies, "Ozumasa Limelight" is still its own film and offers an equally satisfying viewing experience. He chose the title "Ozumasa" Limelight because Ozumasa is a suburb of Kyoto that is a bit like Japan's Hollywood and many wonderful old samurai epics were filmed there...and I have seen and adored hundreds of these films. Because of this, I would love to one day visit Ozumasa...and am very jealous of my daughter because she spent time at the studio a few months ago...but that's another story.

Seiichi Kamiyama (wonderfully played by Seizô Fukumoto) is an artist, of sorts. He's created a real niche for himself in Japanese films and televisions. But he's not a star...in fact he's a guy many might never even notice. He plays villains in Japanese samurai productions and has had a steady job playing these sorts of parts for a television show for decades...sort of a sword and samurai version of "Gunsmoke". However, the series is being canceled and the directors and producers want new blood for their projects...and a 70 year-old actor who specializes in dying dramatically and artistically on camera just doesn't seem to be needed any more.

Fortunately for Seiichi, he is able to find a sense of purpose when he meets a young actress. She is going to be an extra in a new type of samurai television show but she has no idea how to make her scenes look realistic. Seiichi is a very kind man and offers to coach her and eventually her skills are noticed. In fact, she is able to quickly move from a stunt double to a star...thanks to Seiichi's coaching. Fortunately, she is the grateful sort and insists that Seiichi come out of retirement for one final last hurrah.

So why did I love this film so much? I think it was because of the director more than anything else. While Fukumoto was wonderful playing Seiichi and Hiroyuki Ono wrote a wonderful script, "Ozumasa Limelight" wouldn't have worked as well had just any director made the film. Ochiai injects a wonderful sense of nostalgia and love for the main character and the film looks more like a piece of art that slowly is unveiled to the viewer. It is slow...but in a very satisfying and deliberate manner. After all, considering Chaplin himself directed "Limelight", Ochiai had big shoes to fill. He did himself proud with this Japanese film, that's for sure.

A Samurai movie about Samurai Drama follows an aged actor in a Samurai TV drama, best known for dying well on this series for the past 40 years. He's dealing with the changing tone of Kyoto, The Hollywood of the East, dealing with becoming washed up, and dealing with his body slowly giving up on him, all at once. On his way out he develops a relationship with a girl who was on her way in, and trains her in the art of stage sword fighting.

It was a very quiet but passionate performance by all the actors, and I love movies about Showbiz. This one was particularly appealing, as I got a small insight of what it was possibly like to be an extra in Japan's studio system.

It was cool cause it was not overly dramatic and was slightly humorous as a satire about making TV shows should be. Plus because it was about a Samurai Drama, we got some cool sword fights. Well forth it.