Labyrinth of Cinema

A film that blends comedy, tragedy, animation, sentimentality, drama, history, poetry and just about everything else. From the beginning the director invites you into the world that exists between what's real and what's fantasy, the world of cinema. Obayashi skids along on a line that weaves between all of these, without ever falling off the tightrope!

The plot: A japanese cinema opens one last night and shows japanese war movies all night. Various villagers come and watch. A girl (Noriko) doesn't know about war and wants to find out by going directly into the films. 3 men (a yakuza wannabe/monk, a film critic, and the girls lover) follow her to rescue her from various dangers, the girl being present in different incarnations within the movies. The four encounter various battles of japanese history starting from the 1860s with the fall of the samurai and ending with the bombing of Hiroshima, making friends and enemies on their way.

The movie: First I have to say despite this being Nobuhiko Ôbayashis last movie it was my first from him. I was told about his experimental roots beforehand and knew the anti war & movie topic. Still, this movie has a very special style. Instead of using actual old japanese war movies they get kind of rebuild. The first ones in 4:3 and b/w with intertitles before we head to talkies. Generally Ôbayashis choice in most of the scenes is to have two layers in it: the background & the characters, by choice badly cut in. You get 3 hours of very fast paced dialoge, singing, a lot of cuts & repetitions, panels with poems, semi-documental scenes, overlays with facts/information in japanese, overlays of circles, etc.

Storywise, although its meandering style, it all concludes fine in the end & has a strong as well as important message. But still a very hard one to sit through.

I must confess I was unable to watch this one to the end, which is something I rarely do even when I don't like a film, but this is three hours long and it was driving me crazy after 20 minutes. Other IMDB reviewers confirmed that the style was consistent throughout. Not worth your time.

The last showing at an old theatre in Obayashi Nobuhiko's hometown of Onomichi, Hiroshima. It's a fitting idea, knowing that this would be his own last film.

Labyrinth of Cinema follows a similar pattern to that of Kon Satoshi's Millenium Actress, where characters fulfill the role of both the listener (audience), and as the actors, in a multitude of short stories centered around Japanese war history.

The film is long at almost exactly 3 hours of runtime, the editing, whimsical as to be expected in an Obayashi film. While still upholding the emotional and strong anti-war message prevalent throughout the late directors films. Worth remembering Obayashi being from Hiroshima.

A last chance to use his voice perhaps swells the runtime, but this is a real spectacle.

In short, not the greatest choice for a first film to watch from Nobuhiko Obayashi but certainly a worthy film as the footnote to the wonderfully inventive career.

I am way into Hausu, and School in the Crosshairs was good - Labyrinth of Cinema does not disappoint those tastes. It adds to them in a grandiose way - more mature, but also hyper, as hyper as a child at the peak of their day. I couldn't believe how the film strode through its plot.

The unreality of the film is so delightfully stylized that it is fun to examine the background - and after so much exposure to constantly weird sets, you find yourself realizing a lot of unique arrangements have slipped you by.

Similarly, the plot has a lot of nods and references to earlier moments, so it is a good one to be on your guard for. I bet it will be better when I watch it again.

Feels very revitalizing when it is over: Obayashi is unbelievable, obviously powered by a deep sentiment and still as able to let the viewer feel the connection between characters like it flows through them. I would like to learn about the process of making this film.

It totally matches with the "farewell to the days of reel cinema" vibe that has slid undercurrent for a decade or two. In that regard it pairs well with Once upon a Time in Hollywood or perhaps something with George Clooney in it: A little man-focused in that regard, maybe, but I did always perceive a feminine focus in Obayashi's work which maintains here.

It's more serious than Hausu, but also, way more silly? Not sure what happened to me while I watched that film, but I am completely discombobulated. Got carnival legs after that one.