Masahiro Motoki Movies

Director Yojiro Takita and writer Kundo Koyama examine the rituals surrounding death in Japan with this tale of an out-of-work cellist who accepts a job as a "Nokanashi" or "encoffineer" (the Japanese equivalent of an undertaker) in order to provide for himself and his young wife. Daigo Kobayashi (Masahiro Motoki) is a talented musician, but when his orchestra is abruptly disbanded, he suddenly finds himself without a source of steady income. Making the decision to move back to his small hometown, Daigo answers a classified ad for a company called "Departures," mistakenly assuming that he will be working for a travel agency. Upon discovering that he will actually be preparing the bodies of the recently deceased for their trip to the afterlife, Daigo accepts the position as gatekeeper between life and death and gradually gains a greater appreciation for life. But while Daigo's wife and friends universally despise his new line of work, he takes a great amount of pride in the fact that he is helping to ensure that the dead receive a proper send-off from this state of being. ~ Jason Buchanan, All Movie Guide

Shinya Tsukamoto's latest work is a bit of a departure for the director of such over-the-top cult films as Tetsuo: Iron Man (1989). Though punctuated by his trademark kinetic camera work, this moody gothic horror film has the sort of brittle formalism more common in Japanese domestic dramas of the 1940s and 1950s. Dr. Yukio Daitokuji (Masahiro Motoki) is a well-to-do doctor living in a wealthy neighborhood located near a shantytown. He lives in a gorgeous old house along with his father, mother, and beautiful young wife Rin (Ryo). The couple seems happy, but Rin's lack of a past, due to amnesia, is a source of anxiety for the socially conscious doctor. The rigid respectability of the couple's upstanding bourgeois life shatters when a bizarre rag-wearing man kills off Daitokuji's parents in sudden and gruesome manners. The terror gets ratcheted up a notch when the mysterious assailant throws Daitokuji into a deep well on the family grounds and then reveals himself to be physically identical to the young doctor. The stranger assumes Daitokuji's identity by making passionate love with his wife and threatening to kill his patients. Tsukamoto brilliantly juxtaposes the oppressive opulence of the upper class, characterized by deathly silences and Kubrick-like compositions, with the grubby, desperate world of the slums, whose residents could have populated The Road Warrior (1981). While Tsukamoto's fascination with revenge, doppelgangers, and male rage, as seen in Tokyo Fist (1995) and Bullet Ballet (1998), are clearly present in this work, it also showcases the director's growing stylistic maturity. This film was screened at the 1999 Toronto Film Festival. ~ Jonathan Crow, All Movie Guide

Reminiscent of the Australian hit Strictly Ballroom (1992), this romantic comedy from Japan was a hit in its country of origin, despite (or perhaps because of) its tacit criticisms of the restrictive aspects of Japanese culture. Shohei Sugiyama (Koji Yakusho) is a typically strait-laced Japanese businessmen who, passing by in his commuter train one day, glimpses a beautiful young woman, Mai (real-life ballerina Tamiyo Kusakari) through the window of a dance school. Obsessed with her, Shohei enrolls in the school and meets instructor Mai, who at first mistakes Shohei for a philanderer. To her surprise, however, Shohei is a naturally gifted dancer interested in an artistic partnership only, and Mai begins training with him for a competition. Meanwhile, Shohei becomes familiar with his eccentric fellow students, including one person that Shohei already knows, a co-worker (Akira Emoto) who blooms in the dance sessions as a bewigged master of rumba. As dancing is frowned upon in Japan as a frivolous enterprise for a respectable businessman, Shohei keeps his sideline hobby secret, leading his wife to believe that he's being unfaithful and to hire a private investigator to follow him. ~ Karl Williams, All Movie Guide

Edogawa Rampo -- a pen name that is also a homonym in Japanese for Edgar Allen Poe -- amassed a major cult following after writing a series of short stories that masterly meld the erotic and the grotesque. Unlike previous films about of his work -- such as Noboru Tanaka's masterful Stroller in the Attic -- this piece is not so much an adaptation of his work than a dreamlike vision of his inner workings. Set during the 1930s, Rampo (Naoto Takenaka), after learning that his piece Osei Tojo was censored by the government, reads a newspaper article about an incident that bears freakish similarity to his suppressed story. The article details a murder investigation surrounding Sonoko (Michiko Hada), the wife of an antique dealer who was found suffocated in an large oblong chest. At the funeral, Rampo is immediately drawn to Sonoko, who exudes a certain femme fatal magnetism. She fires his creativity and soon he is banging out a sequel to his censored work. In his story, Osei becomes the lover of a debauched aristocrat (Mikijiro Hira) who likes to sexually humiliate the recent widow. Meanwhile, a straight-arrow detective, Kogoro Akechi (Masahiro Motoki), ventures to the count's estate to further investigate the murder. While writing this tale, he passionately pursues Osei in real life -- or at least what he thinks is real life. This film was famous in Japan for its turbulent production history. Producer Kazuyoshi Okuyama was displeased with original director Rintaro Mayuzumi's faithful, delicate version of the film and reshot 80 percent of the film, fashioning it into a flashier, bawdier affair. Both versions were released in Japan. ~ Jonathan Crow, All Movie Guide

Shusei has a problem. When he graduates from college, he has a fine job waiting for him. Family connections have made certain of that. However, in order to graduate, his thesis professor has to certify him. Since his professor, a former sumo wrestler, is the not-so-unofficial patron of the college's almost nonexistent sumo squad, and Shusei looks like someone who could do the squad some good, a tradeoff is arranged: Shusei will join the college sumo squad and work hard for it, and the professor will let him graduate on schedule. After a few more "volunteers" are rounded up, theirs is a real underdog team, full of skinny kids and out-of-shape heavyweights -- even an English rugby player. They are embarrassed even to compete, much less to train hard. However, the enthusiasm of the school's alumni shames the group into doing their best, which (as things in teen movies usually turn out) is more than good enough. ~ Clarke Fountain, All Movie Guide