The Japanese Wife Movies !NEW!

Snehamoy Chatterjee (Rahul Bose) and Miyage (Chigusa Takaku) are pen pal friends who develop a deep and emotional relationship. Eventually, the pair exchange wedding vows through letters. Seventeen years pass but they never meet, yet the bond of marriage is strong between them. This unusual relationship is tested when a young widow, Sandhya (Raima Sen), comes to stay with Snehmoy along with her eight-year-old son Poltu. Snehmoy and the little boy bond and the arithmetic teacher discovers the joy of palpable bonds and fatherhood. He also develops an inexplicable thread of understanding with Sandhya too. Despite this Snehmoy remains loyal to his unseen Japanese wife. When Miyage is diagnosed with cancer and falls ill, Snehmoy takes a long leave of absence from his school and tries to find a cure for her illness. Snehmoy sets out one day during a storm to talk to the closest oncologist in Calcutta, but leaves upon realization that without Miyage physically being there, the doctor can do little. The storm turns violent, with harsh wind and rain. Snehmoy stops to call Miyage, and the exposure to the cold causes him to catch pneumonia when he returns to his house. Due to the continuing storm, no villagers are able to travel to Gosaba by boat to obtain the antibiotics required to cure his infection, and he dies some days later. After the sea calms down, Miyage, who is dressed in a white sari and has a shaved head (a tradition of Hindu widows) visits the house of her late husband. Sandhya welcomes her.

The American Diary of a Japanese Girl (1901) is a novel by Yone Noguchi. Published in New York alongside illustrations by Genjiro Yeto, the novel was styled as a fascinating tell-all written by a young Japanese tourist. Composed with the assistance of Lonie Gilmour and Blanche Partington, The American Diary of a Japanese Girl was Noguchi's first novel and a major departure from his poetry at the time. An 18-year-old Japanese woman going by the name Miss Morning Glory embarks on a journey from her native country to the United States. Accompanied by her uncle, a wealthy industrialist, Morning Glory arrives in San Francisco via steamship. She soon befriends the American wife of a Japanese diplomat, who introduces her to minstrel shows and vaudeville. Left to her own devices, Morning Glory takes over a local cigar shop in Chinatown and begins to assimilate into American life and culture. When she meets Heine, an older poet from Oakland, Morning Glory is inspired to pursue a career as a writer. As she travels across the expansive American landscape with her uncle, she comments on the people and places she encounters along the way. Through her eyes we see the country in a strange new light, perhaps more truth than fiction. With a beautifully designed cover and professionally typeset manuscript, this edition of Yone Noguchi's The American Diary of a Japanese Girl is a classic of Japanese American literature reimagined for modern readers.

The Japanese Wife Movies

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In the beginning of Jarhead, he writes that "after hearing the news of imminent war in the Middle East" his platoon gets jarhead haircuts, then buys a bunch of beer and rents "all of the war movies they can get their hands on," Apocalypse Now and others. "Vietnam war films are all pro-war, no matter what the supposed message, what Kubrick or Coppola or Stone intended." He continues: marines everywhere "watch the same films and are excited by them, because the magic brutality of the films celebrates the terrible and despicable beauty of their fighting skills. Fight, rape, war, pillage, burn."

There is nothing like the poetry of a song to garner discussion in a classroom. This sounds like a great anticipatory set. The book reminds me of a few movie gems I've found on the Sundance Channel or on the Independent Film Channel but don't recall the titles. Do you know of any movies, and their titles, which have been based on Murakami's books? Answer if you have time. Thanks.

Another great read from Gail Tsukiyama: it is called Night of Many Dreams, and it is set in China just after World War II. It is about two sisters--one wants to become a traditional wife, but ends up as an actress; the other travels to America. It is an interesting comparison between the two girls' paths (which is paralleled by their mother and aunt's diverging paths: Auntie Go stayed single and ran a business; their mother was a traditional wife). The novel broadened my view of the choices for Chinese girls, even some fifty years ago.

I have just finished Anchee Min's Red Azalea, an autobiography detailing Min's experience growing up during the Cultural Revolution in China. When she turns seventeen, she is sent to work at Red Fire Farm--the work is backbreaking, endless; in addition, relationships with men are not allowed (they glorify personal desires over the group's needs). Min does develop an intimate relationship, however, with her fellow worker, Yan; this relationship causes both women trouble, especially with one of the leaders of the camp, Lu. To me, the story illustrates how it is not possible to regulate personal desire--despite the dire consequences attached to forging a personal relationship, the people in this story do it anyway! Ultimately, Min is selected to go to Beijing, to audition for Red Azalea, one of Jiang Qing's (Madame Mao's) "model operas". In addition to this autobiography, Min has written three fictional pieces: one is called Wild Ginger, a story seemingly very similar to her autobiography; the other two are companion pieces: Empress Orchid and Madame Mao, both of which detail the life of Jiang Qing--her rise to power as the wife of Mao; her "model operas"; her work in Chinese politics. I have not read these pieces of historical fiction, but based on my enjoyment of Min's autobiography, they sound interesting. Min's work is very sensual, pretty detailed in her descriptions of intimate encounters--I'm not sure it would be appropriate for students except at the very senior level. But it is good for teachers wanting more info about China under Mao--and for those looking for an intriguing story!

I know exactly what you mean. When Kikuchiyo, a character who has been little more than a clown and a drunkard for the whole movie, bursts out with this heartfelt monologue in an off-kilter helmet and armor that doesn't fit, it should be over the top. But instead, thanks to Kurosawa's beautiful trading off between close-ups on him and reaction shots of the other samurai (and of course due to Mifune's incredible performance), it is appropriate for the situation.

Speaking of, even though every shot is breathtaking, they are not "art for art's sake." Every scene drives the story. It's as if he figures out what he needs to explain to move the story along, and then makes it as beautiful as he can.

So we haven't talked about the love story at all, between Shino and the rich kid Katsushiro. At first it's just a kind of puppy love romp but as they grow fonder their relationship raises some issues that might be valuable to discuss with students. Shino is a peasant farmer and Katsushiro is rather wealthy. She could marry above her station but it wouldn't be right for him to marry down. I see all sorts of Language Arts parallels to stories we teach. And if he wouldn't marry her, he could take her as a concubine but we get the sense he probably couldn't afford to support her. So if they were to, ahem, consummate their relationship she would in effect be ruined for any other man in this society.

That's what makes Shino's panting, supine, almost accusatorily seductive pose in the flowers so shocking! Remember a kiss couldn't be shown on Japanese movies until well into the American occupation after WWII because it was seen as something that should be confined to the bedroom.

I think it could be used as evidence that certain narrative structures transcend cultures.

Also, sociocultural issues as a way of understanding society and/or culture.

thoughts?

m@x

I think the love story's okay, but the guy is kind of a wuss. It's interesting, did you notice that there aren't a lot of point-of-view shots in the movie? Not like in a Hitchcock or something. But the character who has the most P.O.V.'s is Katsushiro, the young lover. Is Kurosawa trying to make us sympathize with this character over all the others? Or is this character representative of some sort of model of virtue in Japanese medieval culture?

I also like how the director is able to change the speed of the action on a dime. He's always moderating the pace to adjust the emotional weight of a scene. When the samurai charge off on their raid of the bandit-town, there's that weird moment with Rikichi's doomed wife. Did you notice the Noh flute? And almost as soon as I remembered I noticed her movements, slow and deliberate, where the slight turning of the head could speak volumes.

I just wanted to cheer the two of you for your lively debate, please take on other movies as well. I think the he said, she said back and forth would work with students as well. One could readily offer them multiple reviews of the same film, including reviews with their origins in languages other than English (see Asia Pacific Arts for some of this on Chinese, Korean, and Japanese films).

The attitude of many of the Korean women was that of pity. Some, when unobserved by the guard, slipped scraps of food to the prisoners. It is possible that one of those boys now returned to Canada will one day be reclining on a beach at a summer resort. His wife or sweetheart, in a very fetching bathing suit will be beside him. She will be trying to feed him chocolates, which he refuses with closed eyes. He is thinking of another beach in far away Japan and of another women, a young and rather shapely Korean who out of pity slipped him a dried fish head wrapped in a Japanese newspaper. How grateful he was for the gift and how delicious the fish head tasted. be457b7860