The Fable ザ・ファブル Dir: Kan Eguchi (2019) [New York Asian Film Festival 2019]

The Fable    The Fable Film Poster

ザ・ファブル  Za Faburu

Release Date: June 21st, 2019

Duration: 123 mins.

Director: Kan Eguchi

Writer: Yusuke Watanabe (Screenplay), Katsuhisa Minami (Original Manga)

Starring: Junichi Okada, Fumino Kimura, Koichi Sato, Mizuki Yamamoto, Kai Inowaki, Jiro Sato, Sota Fukushi, Ken Mitsuishi, Yuya Yagira, Ken Yasuda,

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Katsuhisa Minami’s seinen manga The Fable has been serialised in Weekly Young Magazine since 2014 and it won the general category of the 41st Kodansha Manga Awards in 2017. Its straight shooting story of a hit-man’s travails is mostly down-to-earth in art style and narrative for a manga. Its hard-boiled nature is supported by characters drawn with natural proportions engaging in fisticuffs and gunfights, the seriousness subverted by dashes of satire thanks to unique personality traits harboured by different people. A movie version is a natural progression but to make it engaging it will need a cast and crew to capture the comedic and action parts of the story.

The Fable (Junichi Okada) is actually the name of a contract killer operating in the Tokyo underworld. His ability to kill is almost preternatural and it is shown with visual pizzazz in the bombastic opening where he takes out two gangs in a fancy sky-rise restaurant. Efficient shooting and movement, short and sharp physical strikes and an aura of something unstoppable is what defines him and overpowers his opponents. All tumble down before him in action scenes excitingly delivered by director Kan Eguchi who favours quick editing, kinetic camerawork and exploding sets to bolster the slick action choreography. Eguchi doubles-down on the style by showing the mental calculations Fable makes through cute on-screen text and illustrations that get shattered by the bullets the killer sends flying.

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Tokyo Sonata トウキョウソナタ (2008)

Genkinahito'sTokyo Sonata Review BannerTokyo Sonata Basic InfoI love Kiyoshi Kurosawa’s existential horror films like Cure and Pulse so seeing him depart into the mainstream with a family drama was bittersweet but ultimately rewarding because it resulted in a masterpiece that finally revealed the genius his fans have long-recognised.

When Ryuhei Sasaki (Teruyuki Kagawa) is laid-off from his admin job his life as a salary-man is over and his family life is put at risk. The shame of unemployment means that he keeps his situation a secret from everybody including his wife (Kyoko Koizumi) and two sons, Kenji (Kai Inowaki) who wants to learn to play the piano and Takashi (Yu Koyanagi) who he barely speaks to. This means that each morning he dons his suit, picks up his suitcase and heads off to look for work and eat free soup with the homeless and other unemployed salary-men. Soon the lies and suspicion begin to take its toll.

Synopsis wise it sounds like the perfect tale for the age of global recession. Ryuhei is the victim of corporate outsourcing of jobs and this fragments his identity on different levels. The film charts his increasingly desperate attempts to maintain his image of breadwinner and the authority over his family that comes with it.

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