O-ei
Katsushika did her best to follow in the footsteps of her father, the
celebrated Ukiyo-e artist Hokusai Katsushika (generally referred to as just plain
“Hokusai”). That meant she also produced her share of erotic art. Even famous
artists had to take what work was available during the late Edo period. Father
and daughter became close collaborators after age slowed his hands, but she
still eventually developed her own style. Following the exceptional anime feature,
Miss Hokusai, O-ei Katsushika gets
another, more traditional live-action bio-treatment in Taku Kato’s television
film Kurara: The Dazzling Life of Hokusai’s
Daughter (trailer
here),
which screens (free of charge, but tickets still required) during the 2018 Japanese Film Festival of San Francisco.
After
three years of marriage, O-ei divorced her husband and moved back in with her parents.
Her mother is still embarrassed and scandalized, but her father was always
totally fine with it. He appreciates her passion and budding talent, but maybe he
is not as encouraging as he ought to be. Regardless, he quickly relies on her
to finish important commissions once he gets bored with them. Even after a
stroke, he remains the best Ukiyo-e artist of the day, but he will need the
help of his daughter and his friend, novelist Kyokutei Bakin (also seen a
supporting character in Kakekomi).
However,
the focus falls squarely on O-ei, her fascination with color and her lifelong
love for Zenjiro Ikeda, known professionally as Keisai Eisen. Her interest is
reciprocated, but alas, Ikeda/Eisen is often married or otherwise attached to
other women.
Miko
Omori’s adaptation of Makate Asai’s biographical novel is respectful and largely
conventional, but it is still pleasant to spend time with it (especially for
free). Kato is particularly adept at dramatizing moments of artistic
inspiration on the screen. He also provides some nice historical context with
non-fiction wraps-around featuring lead actress Aoi Miyazaki interviewing art
historians and visiting a major Hokusai retrospective at the British Museum.
Miyazaki
is terrific as O-ei, fully fleshing out both her prickliness and her
vulnerability. (Obviously, she was cast for her talent and fame, because the
references to O-ei’s supposed plainness do not fit her striking presence.) She
also develops some rather sweetly touching chemistry with Ryuhei Matsuda’s
roguish Ikeda. Plus, old man Hokusai’s image fares much better with Kyozo
Nagatsuka’s gruff but complex performance this time around than it did with the
distant, arrogant figure in Keiichi Hara’s animated film.
