This was a title in the Japan Foundation Touring Film Programme screened at the Sheffield Showroom. I think this was the only title screened from 35mm. a good quality black and white print in TohoScope with clear English sub-titles. The film was directed by Kawashima Yūzō, a director whose work I had not seen before. He was born in 1918 so this is his centenary year.
Alexander Jacoby (A Critical Handbook of Japanese Film Directors, 2008) notes,
Little known outside Japan, the wry, wild work of Kawashima Yūzō is the missing link between the classical Japanese cinema of the fifties ands the modernism of the sixties.
Kwashima started out at Shochiku in the war years. He only achieved a reputation in the 1950s when he moved to Nikkatsu. On a number of his films his assistant and script-writer was Imamura Shōhei. Hi worked in a variety of genres but his most notable films were comedies, a mixture of satire and farce. Room for Let is, apparently, his most characteristic.
The film certainly mixed comedy and farce and (I suspect) a certain amount of satire on 1950s society. The film is set in a multi-room single storey tenement on a hill overlooking the city of Osaka. There are some fine views of the cityscape. The film, to a degree; follows the actions of the various tenants living in the house.
. . . a barbed hilarious portrait of the mostly disreputable characters inhabiting an Osaka boarding house . . . [Programme notes].
This sort of drama, showing the interactions of tenants in a multi-room establishment, is familiar in South Asian cinema, and there are examples in Chinese and Japanese films.
The film does have key protagonists. One is Goro (Sakai Frankie), a jack-of-all-trades around whom the other characters revolve. Opposite him is Yumiko (Awashima Chikage), a potter who rents the vacant room. She is an independent and strong-minded character, as are the majority of female characters in this film.
The ‘room for let’ provides a mechanism for the development in the plots But it is the interactions between the various tenants that provides the comedy. This is often unseemly and the sexual aspect if fairly explicit. The comedy develops slowly. Early on the film has a wry quality, but as the drama develops the tone becomes farcical. There is a splendid sequence as most of the tenants are involved in or observing Goro’s panic-stricken response to a forceful women tenant.
At the same time there are notes of disquiet. A young woman who services some older men in her room suffers the indignity of exposure to her family. Her suicide and the following mourning ritual is sombre.
The cast is excellent, striking just the right note this side of farce for much of the film. Their characters and idiosyncrasies are presented entirely convincingly. The cinematography by Okazaki Kôzô is finely done. He makes great use of the scope frame and there are some fine dollies in the interiors and some fine tracking shots in the exteriors. The music by Manabe Riichirô for much of the time has a suitably jaunty quality which sets off the often racy visuals.
This is the first Japanese film farce that I have seen and it struck me as surprising but extremely funny. The set pieces are a real pleasure to watch. Unfortunately there were only about a dozen in the audience for this screening. And, as far as I could tell, despite being exactly opposite the University with its Film Studies and Film Production courses, there was a sad absence of academics and students. Equally unfortunate was that the closest this came to West Yorkshire was Sheffield. The Programme Notes list the venues hosting the Touring Programme. This includes towns like Colchester, Kendal and Lewes, all far smaller than Leeds. I read Roy’s comments (in his Glasgow Film Festival overview) about the absence of Asian films in exhibition. I wonder how we can persuade our local exhibitors to support this excellent provision. I have seen a number of films in recent years in the Touring Programmes and they have all been worth the trip to Sheffield.