Shouwa Genroku Rakugo Shinjuu – 03

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SGRS has played a clever trick. I thought this show would be about Yotarou, the reformed thief, but he hasn’t been present the last two episodes. Instead, it’s been young Yakumo’s, or I should say, Bon’s show.

And that’s totally all right, as he puts immense craft, care, and detail into his quietly epic life story, a large part of which contained Sukeroku (AKA Shin) who is absent from the present world. In hindsight, that absence and the events that let up to it (which have yet to be told) are given greater weight with each new section.

Bon is struggling with the same boisterous kind of rakugo Shin performs and gets reliable laughs from, and having to balance school means he feels like the gap between them is growing. So Shin suggests he try rakugo that makes the most of his weak voice: bawdy and erotic stories. On that note, Shin suggests they go to a brothel and get laid…once they have the scratch, of course.

In the midst of hanging out offstage with the “house band”, Bon, who had no prior interest in or time for girls, meets Ochiyo, a girl he becomes interested in and spends lots of time with. The warm fondness and melancholy in present-day Yakumo’s voice makes the couple’s inevitable separation really sting.

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That hurt is somewhat mitigated by present-day Yakumo keeping Ochiyo’s promise to never forget her, because here he is telling us about her! The reason she has to leave Tokyo is basically the same reason people start leaving Tokyo in droves: World War II is about to break out. The dread of that fact is underlined by highly effective use of loud white noise, which swells and cuts out suddenly, creating tension and foreboding.

The government starts censoring rakugo just at the time Bon sees the raunchier stuff as his way in, almost as if the universe were blocking his path. Soon it’s just the master and his two students, and he only takes Shin with him to a kind of USO tour in Manchuria, sending Bon and his bad leg to the country with the mistress. But the night before Shin leaves, Bon has his brother pinky-swear that they’ll see each other again.

Bon gets a job in a factory, meets another nice girl, and settles into a provisional life, a life without Rakugo he never thought he’d have to deal with until it came. Sure, he’s not exactly on the front lines or anything, but his suffering is borne of not being able to take the path he wishes due to, well, history itself.

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And yet, he never fully gives up on rakugo. He stuffs the books in the closet, but he still tells stories to himself when he feels down. He finds the rakugo heals and fuels his troubled heart; it gives him vitality and hope. And then, one day, just like that, the war is over.

More white noise, and a few well-chosen sights like a cloud in the sky and the sight of a radio broadcasting the emperor’s surrender mark that new event. When it comes to depicting the parts of the war we know well, the show doesn’t show much, because Bon himself doesn’t see any of the horrors.

More than anything, both Bon and the Mistress miss Shin and the master terribly, and even some time after the war continue to live in a kind of limbo as they await a return that may never come. The good news is, rakugo roars back into popularity, including the kind best suited for Shin, who gets a promotion and gets very busy very fast.

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He gets so busy, he’s totally caught off guard when one dusk, just as suddenly as Ochiyo, and country life, and the war, and loneliness, came and went, Shin, Bon’s brother and other half, returns. Five years had passed mercilessly, heartlessly, but by the end of it their promise was fulfilled and they were together again. They ease back into theater life; rakugo life; and peace. Only now, no doubt, with so much time spent apart, this family understands and appreciates far better what it means to be together.

And speaking of reunions, who should show up at their door but Miyokichi, a beautiful young woman. The brothers have competed in rakugo, and endured separation for an entire war’s length. Will their next trial be a love triangle?

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Shouwa Genroku Rakugo Shinjuu – 02

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I was glad for the hour-long first episode that really established a present day for the show; giving it the confidence to go decades into the past in only its second. And while Yotarou was the main protagonist of the first episode, he and Konatsu are entirely absent here, as we have only the old Yakumo narrating the past, and how he met Sukeroku.

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This story explains why the present-day Yakumo has bouts of bitterness and insecurity that can manifest as cruel or petty treatment towards those in his life, be it Konatsu or Yotarou. It all boils down to this: Rakugo was an arranged marriage for Yakumo, while it was true love for Sukeroku.

For Yakumo, then known as Bon, was into a geisha house. He was a dancer until he ruined his leg, and so he got dumped off at Yuurakutei’s house to be his apprentice and learn rakugo. He didn’t even want to get into rakugo, but he had to. His entire future was neatly laid out for him…by people other than himself.

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Sukeroku, then known as Shin, was a filthy, orphaned street urchin, who always used to be able to get into theaters for free. He convinces the master to let him be his apprentice in much the same manner as Yotarou convinces Yakumo: a combination of charm – from his overabundance of enthusiasm, and pity – the implication he truly has no where else to go.

The master can when Shin shows him what he’s got that he’s doing a lot of straight mimickry, but the fact he makes Bon smile and laugh tells him he could be more than just another mouth to feed.

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OH MY GOD LOOK IT’S A YOUNG MATSUDA!!! Holy crap, that’s so cool that Yakumo would not only inherit his master’s title, but his manservant as well. This makes Matsuda the only character other than the narrator Yakumo whom we know form the first episode.

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Oh, but where were we? Ah yes, Bon and Shin. Another reason the master takes Shin in is so that Bon has a foil, and learns to loosen up a little. Sure enough, after Shin says out loud something Bon dare not—they were both abandoned by their families—Bon has himself a cathartic cry and tells Shin his entire story, which Shin earnestly listens to and responds appropriately: basically, “Yeah man, that’s a pretty raw deal.” But it means so much just for Bon to have someone to talk to.

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The two grow up together, alike in how they came to be in the master’s house, but otherwise total opposites, except for their ability to accept one another, much like to very different brothers who still share blood and love for one another, even as they compete for their “father’s” approval.

Once they’ve studied and practices and grown up enough, their master gives them names and deems them ready to open for him at the theater. Bon gets the elegant, refined name Kikuhiko; while Shin gets Hatsutaro, which he feels will sink him before he even jumps in the pool.

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Now we know that Kikuhiko would end up being given the title of eighth-generation Yakumo, but I’m certain the master doesn’t arrive at that decision after Kiku’s first performance, which was an unqualified disaster, though not in any over-the-top or overly cartoonish way (say, he slips and falls or flubs his lines).

He gets all the words out, it just all feels so flat. And he’s super nervous, shaking and sweating from the get-go. No nice way to say it: he bombs. And he knows it, even before he sees Hatsutaro backstage, and dares him to do better in his very first performance opening for their master.

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Hatsutaro does better. Almost too much better. His performance, starting with a loud “HEY!” that wakes up those in the sparse crowd Kiku put to sleep, is far more energetic, warm, loose, and inviting. Rather than no laughs, he gets many, and from a diverse cross-section of people.

Kiku only succeeded in making the crowd almost as uncomfortable as he was. That’s some kind of theater, but it’s not rakugo. Hatsu did some damn fine rakugo in his first performance. He even turns Kiku’s frown upside down. But that’s just it: right now, Kiku simply has no confidence in his future, because he never actually wanted to do this, and still doesn’t. He knew that truth would come out in his performance, and sure enough, it did.

This is only the first part of Yakumo’s tale, which he did fairly warn us was long. We have yet to learn how he clawed back from that sorry first performance to become the living legend he is in the present (and who inspired Yotarou to seek him out), not to mention how his relationship with Sukeroku progressed/regressed; and at some point Sukeroku will meet Konatsu’s mother.

However much more story Yakumo has to tell, I am all ears.

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Shouwa Genroku Rakugo Shinjuu – 01 (First Impressions)

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I enter Shouwa Genroku Rakugo Shinjuu a little late–it almost flew past my radar–until a commenter mentioned it as one of the season’s best – and I’m inclined to agree.

SGRS‘s first episode may be 47 minutes long (and they don’t fly by quickly), but it starts off strong, immersed me in both sides of the obscure world of rakugo – and offered numerous fantastic performances on and off the stage. It’s also the rare show that made me laugh out loud and get me all misty-eyed.

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Recent parolee and former gang member Yotarou begs the great rakugo master Yakumo, who once performed at his prison, to make him his apprentice. On a lark, the initially reluctant Yakumo agrees, and brings him to his house. Which is good, because Yotarou had no Plan B!

Yakumo doesn’t live alone, however: he’s the guardian of Konatsu, the daughter of his late rakugo colleague, Sukeroku. From first glance, Konatsu looks interested in following in her father’s footsteps, but hides her practicing from Yakumo, who apparently doesn’t approve.

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After moving in, Yotarou gets to experience Yakumo live once more, amidst a packed and enthusiastic theater Yakumo has eating out of his hand, and not by any trick. He’s simply extremely good at telling comedic stories with multiple voices that draw the audience in, and you can bet I was drawn right in with ’em.

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But while Yakumo has the adoration of many in this small niche of theater, he betrays his prickly side when he learns of Konatsu studying her father on the sly. Konatsu loses her short temper (it’s clear Yakumo knows exactly how to push her buttons) and is held back by Yotarou in a very theatrical and beautifully-framed shot, seen above.

This is a show whose main characters are all, well, characters, and you get the feeling they’re playing roles even when there’s no audience (other than us, that is). And when these strong personalities clash, like Konatsu and Yakumo often do, the atmosphere crackles with electricity.

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The show puts a roadblock ahead of Yotarou’s journey to become a rakugo star before it even gets off the ground when his old boss from the gang shows up with another job for him. This guy’s a rakugo outsider, for sure: both ignorant to and unwilling to learn about its charms, having already deemed it “tepid rubbish.”

He’s also someone Yotarou was always extremely obedient to, so I was glad when Konatsu spoke up when it looked like he was wavering. Ultimately, it’s Yakumo who resolves the standoff, entering the room and instantly snatching all the authority in that room, sending Yotarou off to practice and inviting the boss to come see his old soldier’s first very show in front of a crowd.

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This long episode’s centerpiece is Yotarou’s performance of “Dekigokoro”, in which he uses his vocal talent with his own crime experience to get consistent laughs out of the sparse but intent crowd. This is a ten-minute long sequence with no interruptions, and it was spellbinding, particularly when accompanied by jazz.

His old boss laughs once he sees the light, and how well-suited the chatterbox is to rakugo. Konatsu also can’t help laughing, though she tries to stifle it. As for Yakumo, he seems proud that Yotarou was able to send his old boss away with his performance, but he also seems a bit miffed that his apprentice is eschewing his tight, precise style for the looser mode of Sukeroku.

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Yakumo takes this opportunity to get another dig at Konatsu, calling her out for what he considers her attempts to “bring her father back to life” through Yotarou, even though he has “no skill” and is only a “passing fancy.” This jealousy, pettiness, and cruelty he displays comprises a “dark side” he shows only to a select few people closest to him, and it’s ugly; he makes Konatsu cry, but to what end? His own self-aggrandizement.

In the episode’s dramatic and emotional apex, a distraught Konatsu visits the friend of her late mother, begging her to tell her the truth about what happened. The friend only tells her what she’s already heard, but can’t accept: her parents died in an unfortunate accident, and no one was to blame.

Konatsu survived the accident, but now she curses she was born a woman, because she’ll never be accepted as Sukeroku’s successor. I hope she’s wrong about that. Both her grief and frustration were strongly felt through the screen; Kobayashi Yuu does stunning work throughout the episode and here in particular.

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After Yotarou stays up too late the previous night listening to Sukeroku (sent to bed by a flattered and concerned Konatsu in a lovely scene between them), Yakumo makes him open one of his own performances with zero notice. The packed crowd only has sporadic polite applause for him, as Yakumo watches him in the dressing room, still not over Yotarou’s apparent obsession with his late rival.

Then Yotarou commits a seemingly unforgivable sin of dozing off just offstage. His snores momentarily interrupt Yakumo’s story, but because he’s a master, he smooths over the disturbance with a little bit of improv. Still, when the performance is over, he formally expels Yotarou, calls a rickshaw in the thick snow, and heads home without him.

The rickshaw is a great touch, as Yakumo is imperiousness incarnate with his wheeled throne and arrogant pipe as Yotarou prostrates himself in the snow to deaf ears. The Winter snow is also an easy way to up the stakes for Yotarou, who will literally be out in the cold if the expulsion sticks.

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I honestly felt really bad for Yotarou, despite pretty heinous screw-up. But the fact his expulsion is as much about Sukeroku as it is the snoring is not lost on me. It’s Konatsu who takes pity on a freezing Yotarou loitering outside her house, and gets him an audience with Yakumo once the latter had time to cool down.

While Yotarou and Konatsu probably won’t ever be a couple per se, their many interactions this week built a solid a foundation for a close relationship hovering somewhere between friends and adoptive siblings.

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After having time to think about it, Yakumo takes a more pragmatic approach to Yotarou, realizing that the rakugo flame will go out when he dies if he discards young people who wish to carry it on. It doesn’t redeem him entirely–he still doesn’t seem open to Konatsu being a rakugoka-but it does paint him as a complex human being, with good and bad parts interspersed in his character.

So he gives Yotarou three conditions for reversing his expulsion and moving forward with his apprenticeship: he must memorize everything Yakumo gives him; he must find and nuture his own rakugo, not merely continue to imitate Sukeroku’s or his own; and most importantly, he must outlive him; which considering Yotarou’s criminal past, isn’t necessarily a given! He also makes Konatsu promise to outlive him.

Yotarou agrees to it all, though he’s not sure at that moment if he’ll be able to follow through, he’s not going to squander his second chance. Then Yakumo tells the two to get ready for a long night, because he intends to tell them the story of a promise he and Sukeroku made. I can’t wait to hear it!

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