I rank Susumu Hani as one of the most underrated filmmakers ever, its very rare to see his films mentioned by cinephiles who love Japanese cinema. Hani's filmography isn't the easiest to appreciate instantly. Few argue that it's the same structure in all his films excluding documentaries and feature a typical theme, at least on first glance. In a way, yes, the themes are the same as Hani frequently showcases adolescence conflicts in the postwar Japan.
Susumu Hani in "The Morning Schedule" captures a symbolic parable of a lost friendship that once seemed like forever. It is shot so beautifully and the story is told in a sequence of flashbacks and switches between present and the past. Hani has his very own visual language, with which he repeatedly manages to interweave documentary with fiction. Everything in this film within a film can be interpreted in simple ways as it ultimately deals with existential questions, nostalgia and friendship. These questioning and themes extends through many of Hani's films. I bet it will grow on you and offer to explore new perspectives on repeated viewings, eventually leave a lasting impression.
This film is in my fav list of lesser-known ATG releases along with Yoshida Yoshishige's Heroic Purgatory (1970), Azuma Morisaki's The Love and Adventures of Kuroki Taro (1977), Yôichi Higashi's SADO (1978), Kichitaro Negishi's Distant Thunder (1981), Akio Jissoji's Buddhist Trilogy, Yoichi Takabayashi's The Temple of the Golden Pavillion (1976), Kazuo Kuroki's The Assassination of Ryoma (1974) and Chusei Sone's Case of the Disjointed Murder (1977).
I recommend this film to fans of Japanese new wave cinema because i truly believe that you haven't competed your trip until you've entered the world of Susumu Hani.
Susumu Hani in "The Morning Schedule" captures a symbolic parable of a lost friendship that once seemed like forever. It is shot so beautifully and the story is told in a sequence of flashbacks and switches between present and the past. Hani has his very own visual language, with which he repeatedly manages to interweave documentary with fiction. Everything in this film within a film can be interpreted in simple ways as it ultimately deals with existential questions, nostalgia and friendship. These questioning and themes extends through many of Hani's films. I bet it will grow on you and offer to explore new perspectives on repeated viewings, eventually leave a lasting impression.
This film is in my fav list of lesser-known ATG releases along with Yoshida Yoshishige's Heroic Purgatory (1970), Azuma Morisaki's The Love and Adventures of Kuroki Taro (1977), Yôichi Higashi's SADO (1978), Kichitaro Negishi's Distant Thunder (1981), Akio Jissoji's Buddhist Trilogy, Yoichi Takabayashi's The Temple of the Golden Pavillion (1976), Kazuo Kuroki's The Assassination of Ryoma (1974) and Chusei Sone's Case of the Disjointed Murder (1977).
I recommend this film to fans of Japanese new wave cinema because i truly believe that you haven't competed your trip until you've entered the world of Susumu Hani.
