Back in Tokyo. This time staying in Kamata, which is a sort of central urban junction town, hence interesting. Rows and rows of those little bars, sushi and sashimi shops, yakitori, izakaya (居酒屋) and yakiniku (焼肉) places to eat. Most of them with about 12 seats, especially near the station and west (NishiKamata), but there are some much bigger ones. Its no Kabukicho, but the area exhibits a bit of a yakuza/hostess bar presence, porn shops and the like, but more interesting than the Ginza version of the same where westerners are expected to be looking for ‘special massage’ I guess. Here I’m ignored as the probably lost gaijin I am.
Learning a little more Japanese from a woman whose just flown in from Beijing with Japan Airlines on her fourth trip as cabin crew (not hostess, clearly that is another kind of work). She tells me of the Sakura trees by the Shinomi river (late April I guess) and tomorrow I am going to search out Yazawaya – since Tokyu Hands is clearly the popular more expensive version of trinket heaven, or so it seems.
In the meantime, I am happy to wander late at night in and out of little bars – jazz in one, arguing couple in another, drunken salary men who want to talk about football – Australia’s soccoroos were knocked out of the Asia Cup by Japan on penalties, but Japan ‘only’ coming fourth was a disappointment to these guys. Victory to Iraq and a political intervention by the captain… They agree its something.
The other streets in Kamata are gorged with cheap commodity stores, 100 yen shops, clothes, footwear, camera stores, obscure things where people sell things I probably shouldn’t want to buy. I had a dream that there was a river of fish flowing into Tokyo, given the massive consumption of maguro, hotate, amberjack, ika (shiso leaf), and tako (octopus).. yum yum, but sitting there eating and drinking as the road transforms from a street of wandering drunks to a busy thoroughfare for boxes and bundles – its obvious someone has to carry in all these products too, so the river of fish is awash with delivery vehicles and the narrow lanes with elegant lamps are also multifunction furrows of capital dredging for gold through the worn facades of the megacity (Hi Ryan and John).
From my hotel window in the morning I can see the city centre in the distance (I’m just guessing but I think its Rippongi and the television tower visible there) and directly outside my room a mysterious building with no windows at all (see pic 3). I find these aircon specials disturbing, even as the air outside is clearly particle-rich (notice the haze in pic 1).
I’m up early to seek out the movies of Kon Ichikawa. If you have never seen “Fires on the Plain” or “Harp of Burma” (Biruma no tategoto) you shoul, but for mine his great under-acknowledged masterpiece is “The Billionaire” (Okuman Choja 1954):
“Author: Robert Keser (firstname.lastname@example.org) from Chicago
This scathing satire plays like Ichikawa’s attempt to slap Japan out of its postwar malaise. A hopelessly naïve junior tax collector crosses paths with an assortment of quirky characters, including a young woman working on a home-made A-bomb, a spoon tycoon on his way to the U.S., a poor boy aspiring to become a movie star, and a fast-talking geisha scheming to extort corrupt politicians. A running joke throughout is the absurd overpopulation: everyone seems to have an absolute minimum of twelve children. This consistently original work remains fresh and funny, thanks to vigorous performances and Ichikawa’s precise framing.”
Just started reading Eric Cazdyn’s “The Flash of Capital: Film and Geopolitics in Japan” – my copy is inscribed on the inside cover by Eric to Masao ‘without whom… nothing’ Feb 2003 (handwritten – pic 3). Masao Miyoshi is acknowledged first for his ‘critical infectiousness’ in a very generous opening paragraph of the text proper. But I bought the book second hand in Labyrinth New York. Anyway – go figure. Looks good so far – Jameson inspired, only a very brief reference to Kon Ichikawa, but an intriging mention on page 32 of the war films of Shibata Tsunekichi, who at the time of the Russo-Japanese conflict (1904-5)travelled to actual locations to film, and mention also of home made “‘docu-dramas’ (fake documentaries about the war)” (Cazdyn 2002:32) which deserve further investigation. But I’ll need to read more Kanji than I do to cope with that. So it goes. Back to Blighty in a week.