Nuclear blast scene in 'Indiana Jones' film puzzles Japan viewers

By Kakumi Kobayashi
TOKYO —
The latest installment in the popular ‘‘Indiana Jones’’ movie series has puzzled some viewers and critics in Japan as it includes a segment showing a nuclear bomb test which they say could give young people the wrong impression about the dangers of radiation and the destructive power of nuclear weapons.

Although there have been no public protests over the scenes, some people have expressed their disappointment or anger in magazines and on Internet message boards, questioning why renowned Hollywood director Steven Spielberg chose to describe a nuclear bomb blast in such an ‘‘imprudent’’ way.

Film critic Ken Terawaki criticized Spielberg for including scenes of a nuclear blast ‘‘just for fun’’ at a time when the world is struggling to do away with nuclear weapons as ‘‘a common enemy of humanity.’’

At the start of ‘‘Indiana Jones and the Kingdom of the Crystal Skull’’ released in Japan in late June, archaeologist Indiana Jones, played by Harrison Ford, fights with Soviet agents at a nuclear test site in Nevada in 1957.

Jones flees from the agents and finds himself in one of the mock houses at the site. Suddenly realizing that a nuclear test is about to be conducted, he hides inside a lead-lined refrigerator and survives the blast without sustaining any major injuries.

In the next scene, Jones is seen in a laboratory-like room surrounded by several people in gas masks who are scrubbing his body with brushes to remove from his skin the traces of radiation emitted by the bomb.

‘‘The problem is that the scenes have nothing to do with the general story of the movie,’’ said Hiroo Otaka, a Tokyo-based film critic.

‘‘The story continues without any reference to damage caused by the bomb and Dr. Jones goes back to his adventures without showing any aftereffects,’’ Otaka said.

He questioned Spielberg’s use of the nuclear blast scenes in the latest issue of the Japanese movie magazine Kinema Junpo.

‘‘I understand that Mr. Spielberg is not trying to justify atomic bombs. Apparently he has just used a nuclear bomb blast to depict Indiana Jones as a superhero who can survive anything. Even so, I have to say it was too easy a choice,’’ Otaka said.

‘‘There are many children these days, both in Japan and the United States, who are unaware of the nature of nuclear weapons. What will they feel when they see the scenes?’’ he asked.

The damage caused by radiation and other matters related to nuclear weapons have been a sensitive topic in Japan ever since the United States dropped atomic bombs on Hiroshima and Nagasaki in August 1945.

Terawaki, a professor at Kyoto University of Art and Design, said the nuclear test scenes symbolize the lack of prudence in the United States when thinking about wars. ‘‘In a sense, Spielberg symbolizes America,’’ Terawaki said.

‘‘I was speechless after watching those scenes,’’ said Masako Katagata, a 34-year-old worker at a medical association in Osaka Prefecture. ‘‘Scrubbing Dr Jones with brushes to get rid of radiation. What was that? Where is the science?’’

‘‘Damage caused by radiation is not a past problem that only involves the Japanese,’’ she said, noting that some U.S. soldiers who went to Iraq are suffering from diseases caused by shells containing depleted uranium. ‘‘It is disappointing not to see that Mr Spielberg is aware of reality, even though he is one of the world’s top film directors.’’

Some people who have seen the movie have been exchanging opinions on various message boards, including one on the film’s official Japanese site.

‘‘I’ve liked the Indiana Jones films since I was in elementary school,’’ said one person on the official site. ‘‘But now I feel angry’’ having watched the nuclear blast scenes.

Another person said filmgoers should not let their displeasure get the better of them, because the Indiana Jones movie is meant as entertainment and the scenes showed the Cold War conflict at the time the film is set between the United States and the Soviet Union.

Noda's 'The Diver' buoyed by success in London

By Tessa Holland
LONDON —
Japanese theater director Hideki Noda has seen his popularity among British theatergoers rise further as a result of the month-long London run of his latest play ‘‘The Diver’’ that snagged the ‘‘critics’ choice’’ award from the capital’s listings magazine Time Out in its July 10-16 edition.

In a collaboration between the Setagaya Public Theatre in Tokyo and the central London Soho Theatre, Noda has joined forces for the second time with British writer Colin Teevan and Olivier award-winning actress Kathryn Hunter to produce a follow-up to their hit play ‘‘The Bee’’ which also ran in London in 2006.

Drawing on the themes of cruelty, imperialism and betrayal, the play links the ancient Japanese classic ‘‘The Tale of Genji’’ with noh drama—from which the play takes its title—and a real-life murder case in contemporary Japan in which a woman was charged with killing her lover’s two children in a fire.

The lead female role is played by Hunter who, having previously worked successfully with Noda and Teevan, was keen to tackle the demands of noh drama, noted for its strict aesthetic disciplines, while at the same time trying to portray a woman with a multiple personality disorder.

‘‘It’s a real challenge to inhabit all these different worlds, because sometimes my character is an emperor in ancient Japan, sometimes she’s his mistress, sometimes she’s a ghost, sometimes she’s in modern Japan,’’ Hunter said in an interview with the local London paper Metro after the play’s opening.

‘‘Going into uncharted territory is part of the attraction though, isn’t it? It’s an adventure,’’ the English actress said, describing how her curiosity about the part grew after being exposed to different forms of Japanese theater.

‘‘Hideki took us to Tokyo to see some (noh drama). It’s the most incredible form. Actors train for it from the age of five. Ancient forms are marvelous but they have to be constantly renewed,’’ Hunter said, explaining the importance of drawing on theatrical traditions to produce original drama.

But the production of the play, which had substantial backing from Sumitomo Mitsui Banking Corporation Europe Ltd, as well as bodies encouraging Anglo-Japanese cultural links such as the Great Britain Sasakawa Foundation, the Japan Foundation and the Agency for Cultural Affairs in Japan, is far from traditional.

Although unusual in form, the play has drawn ‘‘not quite a sell-out, but very good ticket sales’’ among Japanese and British theatergoers, according to a spokesperson at the Soho Theatre, and has appeared to impress the critics.

‘‘Startling emotional intensity...Hunter’s performance gleams and changes shape like quicksilver, while Noda is a powerfully contained presence,’’ stated a review The Times newspaper—comments that were subsequently touted by the play’s promoters in their literature.

With the play scheduled to end its run soon, admirers of Noda’s work will be hoping the success of ‘‘The Diver’’ encourages the Japanese director to revisit the London theater scene before too long.

Singer Jane Zhang has her eye on the Olympic stage



By Silvia Sartori
TOKYO —
It’s not everyday a world leader invites you to his home. But during a visit to Tokyo, that’s exactly what happened to China’s Zhang Liangying, better known as Jane Zhang, who sang for Japanese Prime Minister Yasuo Fukuda on the occasion. The singer from Chengdu, capital of Sichuan Province, was part of Chinese President Hu Jintao’s “warm spring” tour of Japan in May, where she had been designated Youth Cultural Ambassador thanks to her enormous popularity in her home country. On only her second visit to Japan, Zhang was actively helping promote cultural understanding and friendship between the youth of both countries through her music.
Just three years ago, she was a total unknown entering a TV competition in her homeland. But after 400 million people watched her in the final of the TV phenomenon that was “Supergirl,” where she delivered a string of stunning performances in English and Chinese, she is now an international jet-setting star. “Before I was just staying in my hometown, never going anywhere. After, I have been to many places,” she said.
Idol shows are much maligned in the West, but in a country whose pop music heritage is limited, it was a unique way to instantly reach across the enormous country. Zhang was quickly dubbed the “dolphin voice” due to her ability to sing in the whistle register - from D below middle C to G above soprano C. Since the show, she has marched onward, first reaching Japan’s shores in 2007 as a guest for the Miss China Pageant.
Attention to Zhang’s international potential is being mirrored by interest in China as a whole, particularly with the Olympics on the horizon. And Zhang may get a chance to be center stage. In collaboration with Andrea Bocelli, she has recorded “Embrace in Love and Dream,” favored to win the competition to open the ceremony. Thousands of singers submitted tracks, but hers, written by David Foster (producer of Céline Dion, Barbara Streisand & Madonna), is considered a standout.
“I never dreamt to sing with a singer like this,” she said. The winner will be announced on the day of the opening ceremony. “Chinese people have been awaiting the Olympics for years,” Zhang said. “It’s a dream of peace, friendship, love, understanding and communication among all different countries.”
With the huge fame she now enjoys among Chinese audiences, Zhang wishes to introduce new music genres and a new musical sensitivity in the Middle Kingdom. A fresh innovator, she would like to see a fast change in the Chinese music environment. “I like jazz, blues, soul, and I want this music to use Chinese lyrics.” It may not come as a surprise that her muse is Mariah Carey.
Zhang recalled how she grew up buying each of her albums and learning them faithfully one after the other. And of course Carey’s songs were her favorite repertoire at “Supergirl.” “But the judge said: ‘You can’t always sing Mariah!’” Other Western idols include Craig David, Eric Clapton and British soul singer Beverley Knight. “I sing them in my concerts,” Zhang said. “Songs like ‘Every Time You See Me Smile’ and ‘Black Butta.’”
Zhang also sang the theme song for the Chinese music drama “Impression West Lake,” which is composed by Japanese musician Kitaro and was released in June. This cooperation may just be the beginning of a wider debut in Japan. From the Middle Kingdom to the Land of the Rising Sun, the “dolphin voice” keeps enchanting audiences.

Kung fu fightin'



By Chris Betros
TOKYO —
Hugable, loveable and squeezable. Those were the three characteristics of Po, the panda star of the animated film “Kung Fu Panda.” So producers had to find an actor with those same qualities. “That’s me. I’m the only such human being on the plant,” quipped Jack Black during a visit to Tokyo with co-star Lucy Liu, director Mark Osborne and DreamWorks CEO Jeffrey Katzenberg (making his 91st visit to these shores).
A typical DreamWorks animation extravaganza, “Kung Fu Panda” debuted at this year’s Cannes Film Festival and received a standing ovation from the 2,000-strong audience. With voice talents such as Black, Liu, Dustin Hoffman, Angelina Jolie, Ian McShane and Jackie Chan, “Kung Fu Panda” has been a big hit all around the world (including China), which has been very gratifying, said Black.
Set in ancient China, “Kung Fu Panda” revolves around a clumsy panda named Po (Black), who is being groomed by his father to take over the family noodle shop but secretly aspires to be a kung-fu warrior. To his surprise, Po is revealed as the chosen one to defend the valley. But the villainous leopard (McShane) doesn’t agree and Po must get into shape for the final battle, under the tutelage of temple master (Hoffman), Tigress (Jolie), Viper (Liu), Monkey (Chan) and other assorted characters.
Most of the cast underwent six hours of martial arts training (for no particular reason), the end result being that they can pretend to do kung fu, said Black, 39. “This is my best pose,” he said, jumping up onto the table and showing some moves. “Everytime I do this, I need a massage.”
Liu, 39, making her 5th visit to Japan, said the most challenging aspect of the film was working in a room without other actors. “Usually you get energy from other actors, but when you are recording on your own, it is not that easy,” she said. “You have to put your faith in the director and hope he lets you be as free and open as possible. But I really jumped at the chance to do this movie. My parents, who live in Taiwan, don’t really know what I do, so this is one movie they can embrace because the backdrop is where they are from.”
Black, who was last in Japan five years ago for “School of Rock,” said he loved the chance to be able to improvise in a way actors are normally not allowed to do. “All the great animation films in recent years have been ones where the voice actors could flex their improv muscles. Just look at Robin Williams as the genie in ‘Aladdin’ or Eddie Murphy as the donkey in ‘Shrek.’ It’s a thrill to be able to work in that style.”
Black, known at time for his frenetic style of acting, said he got some useful tips from Hoffman. “He taught me the value of whispering a line rather than screaming it out. I think that along with the accolades the film has been getting worldwide, the best memories I have are the day-to-day fun we had doing the vocal performances.”
Black, who balances his movie career with his band Tenacious D, already has three new movies in the pipeline, and has just signed on for “School of Rock 2: America Rocks,” in which his character goes on a cross-country road trip with a group of summer school students, teaching them about the history of rock and roll and examining the roots of various music genres.
Meanwhile, Liu said she would love to make a third “Charlie’s Angels movie,” but is happy to do more animation. “It’s nice not having to concentrate on my hair, make-up and wardrobe. I can just focus on the character.”

Shabushabu redefines clubbing




Contentedly sipping beer, chitchatting with friends, and nodding my noggin to a mate’s techno set at Shibuya club Amrax was how I expected to spend a recent Saturday evening. But once my chum had spun his last vinyl, events took a wander in to the unknown.


The silhouette of a man wiring all manner of electronic gadgets together and carrying indecipherable items dominated the stage. I soon discovered that the silhouette belonged to a character who goes by the name Shabushabu.


The Kyoto native’s performance was a fun and engaging assault of warped effects, echoes, loops, vocoders, samples, and bass-heavy beats ranging from UK grime, dub, techno and electro to interludes of whistles, water pistols and even action figures, spruced up with the ad hoc and erratic comments of a musical madman. Probably not too far from what Hot Chip on one acid tab too many would sound like. A recent Metropolis review of the Shabushabu CD “All in One Pot” hit the nail on the head when it described his sound as loosely filed under “electronica,” but otherwise defying easy description.


Shabushabu’s soundscape is strictly no-skool, and with this in mind, I hunted him down to bag a few words.


What’s the concept behind “All in One Pot?“
I wanted it to be an innovative electronic album with futuristic feelings, but at the same time have Japanese roots, especially musically, like what I was listening to when I was little.


Some tracks have club-like elements.
Yes. I released my first 12-inch record from a techno label called 2CB, run by a UK techno unit called Subhead 10 years ago. So, phat underground club beats are my backbone.


What’s your opinion on the current music scene in Japan?
I really think there are amazing artists everywhere, if you look for them. There are so many underground Japanese artists I like, but I personally wish to hear more wicked music that has progressed from traditional Japanese music.


Who or what are your musical influences?
I try to listen to as many kinds of music as possible because I just love the excitement of meeting new sounds. But my biggest influences are the underground crazy parties that let me perform whatever I want to, where I can just dig my own style without hesitation.


How do you go about transferring your sound into a live set?
When I do live, I try to express the feelings I get when I’m making music alone. For example, if I feel that the sound of hitting my laptop with a drumstick is cool, I’ll just do it on stage. But I also try to put humor into it, because I love to see people laugh.


Finally, what about the toy props!?
I love using toys because they’re exactly what I’m looking for: good sound, funny, exciting — and sometimes very traditionally Japanese.


For more info, see MySpace.com - shabushabu - Kyoto, JP - Experimental / Electronica / Hip Hop - www.myspace.com/djshabushabu and okimi records [OORUTAICHI WEB]. “All In One Pot” is available on Okimi records.This story originally appeared in Metropolis magazine (Metropolis - Japan's Number 1 English Magazine).