Whenever we visit my husband’s family in England I really look forward to walking in the nature reserve near their home. Formerly a farm, the nature reserve is now 33 hectares of wildflower meadows, woodland, ancient hedgerows and ponds. While we are visiting I walk there most days. I refer to it as my “happy […]
I just got home from my first Japanese Forest Bath. My local library organized the event and when the weather got cold and it snowed someone backed out and I was moved off the waiting list.
I met a group of 12 or so at Ryerson Woods. It was rather cold but much of the week’s snow had melted and the foliage was gorgeous.
The practice of Forest Bathing, we were told started when suicides spiked in Japan. A forest ranger figured perhaps we could prevent these suicides by taking people into the forest for slow, meditative walks. He found some people who were troubled and in danger of taking their lives and he led them on slow walks in the woods. These groups did not commit suicide at the level of those with out this “treatment.”
What did we do? We met at the beginning of an easy trail and were instructed just to breathe deeply and look around us. After a while we were guided to walk very slowly in the woods and notice movement. The leader would then signal us to gather in a circle and share what we noticed. There’s an option to pass. We continued in this manner walking very slowly and paying attention to sounds or contrasts or something the guide suggested and then gathering to share what we noticed.
I do feel renewed from the experience. It’s purifying. I wish we had less sharing because some people went on and on and got rather scientific, while I’d have preferred people sharing just a word or nothing. I found this an excellent practice and one I’d do on my own or with a group again.
Another film in Criterion’s Nikkatsu (Studio) set is I am Waiting (1957). Directed by Koreyoshi Kurahara, I am Waiting tells the story of an ex-boxer who rescues a young woman from suicide. She couldn’t take working at a mobster’s low-end bar anymore. Her savior offers her a safe place to live and work at his restaurant. She gets happier, and calmer.
This nice guy dreams of joining his brother in Brazil, where the brother has bought a farm. Time passes and there’s no word from the brother. About the time the nice guy, whom we learn was a prize-fighter reveals that he wants to escape his guilt for killing a man in a fist fight. The club owner any lackeys find a girl at the restaurant. This mobster figures the girl owes him two years worth of work performing in his club. Despite her disgust, she agrees to return to protect the nice guy.
Then the guy starts retracing his brother’s footsteps and discovers the brother never got on the ship to Brazil. The nice guy deducts if there’s a connection between his brother’s disappearance and the mobsters.
I enjoyed the plot in performances particularly those of the lead man and woman. The film never got sappy or simpleminded it’s portrayal of this couple. I wouldn’t call this a thriller, it was definitely noir with plenty of dark, inky shadows.
The story was absorbing and my heart went out to all the beautiful losers, nice guy, the girl he rescued and the doctor cum mentor,who drank too much.
Part of a collection of Japanese noir films, Rusty Knife (1958) packs a punch. A relentless D.A. won’t give up on getting justice for a murder that was wrongly categorized as a suicide. He hunts down two reformed gangsters, who witnessed the murder as other yakuza (Japanese mobsters) killed a city official. One of the witnesses now owns a bar and has turned over a new leaf. However, the guilty and anger towards these gangsters who brutally raped and murdered his true love. As the D.A. urges him, the reformed gangster pursues the yakuza and seeks revenge.
The emotions run high and the plot has some great fight scenes. The plot offers plenty of surprises. I recommend this film and would certainly watch more of director Toshio Masuda’s films.
Kusama Infinity is a documentary about the pop artist Yayoi Kusama. Proceeding in chronological order, the film begins with information on Kusama’s youth and her struggle to become an artist when her mother would tear up her work and she received no encouragement from her parents. Despite the restrictions for traveling abroad or taking money out of Japan in the 1960s, Kusama does leave for New York where she strives to make it in the art world, which was dominated by Western men.
We see her geometric art, full of simple circles and lines, which represent infinity. We see how she uses mirrors and mirror balls to delight and memorize. We learn about her disappointing relationships, her depression and the people who supported her.
Yet after an hour I felt the film was dragging and I tired of the 1960s-70s avant garde scene. I wished there was some acknowledgment that while she had her struggles, Kusama did receive a great deal of acclaim, freedom and wealth.
Just a few Japanese ukiyo-e paintings from the Weston Collection Ukiyo-e exhibition now at the Art Institute of Chicago. Ukiyo-e’s depict the life of pleasure and leisure of musicians, geishas and concubines.
Expect me to share more of these in the days to come.