This is a fantastic deep dive into a movie many have probably never seen or heard of, unless you’re into the genre or love David Bowie enough to dig through his life’s work (as I do- I’m still sad he died before I could see him) there is much empathy for the evocations layered thin in this film, and yet those layers are mined thoroughly by the researchers of this video essay. Well done, shoutout to Mary.
Thank you for discussing this very hard but wonderful movie. There were a lot of examples of compassion in the movie, some which don't look like compassion to western eyes, but that really are from the Japanese perspective So much so, the characters get into trouble for their troubles, to the point where they have to up the ante to prove to themselves and others that they aren't "going soft" on the prisoners or being "disloyal " to their own side. Like the rug in Celliers' half of the bamboo cage (Lawrence's side is just hard packed sand). The Capt wants to give him comfort in his space, unusual comfort (Japanese people slept on tamiami mats, he gives the man he loves a western style rug to sleep on). The entire scene where the Capt. visits one last time - it is not a creepy trophy or souvenir, but an offering for his family shrine, so Celliers would never be forgotten, even if his family might be a bit confused, they would honor the request and prayers would be offered and the mystery man?woman?friend?lover? would share the gifts and offerings to the entire ancestral family. It's like the offrenda in Coco; the dead are honored. Think of it as the spiritual equivalent of being introduced to the folks. I could go on (even the Sargent was being compassionate about the Korean guard - the lie about his death on the official record would ensure the guard's family got the man's pension and death benefits). But thank you again, more people need to know about this movie.
I never get sick of the music Sakamoto composed for this film... although now I'm suddenly trying to imagine what Bowie's version of the soundtrack would have been like. His Berlin trilogy albums revealed great lush soundscape ideas (but they might have been more because of Brian Eno).
Eno certainly influenced and co-wrote some of the instrumentals. For example, Moss Garden certainly sounds very Enoesque. However, many of them sound nothing like anything Eno made before or later, so it is safe to say that Bowie's contribution were more important. Also, for example the track Subterraneans was initially meant as a part of the sound for the Man who Fell to Earth. So it was initially made totally without Eno though Eno probably had some input to the final version
David Bowie was offered to compose the film’s soundtrack. He turned it down as he wanted to focus on his acting and I’m glad he did turn it down. Otherwise, we would not have Ryuichi Sakamoto's great music compositions today.
Thank you so much for this beautiful insight into my favourite film from a queer buddhist perspective (one that I am very fond of). Lovely performances of Sakamoto-sensei's legendary compositions, too! Wonderful video, thank you again.
Greetings! Yes, the 1st song, the 3rd and 4th are all different versions of the movie's theme "Merry Christmas, Mr. Lawrence." The 2nd song is called "Germination." The soundtrack is by Ryuichi Sakamoto, but these covers used in our video were performed by one of the writers at our channel. Best wishes!
Hey again! We just uploaded two of the tracks from the video today. Hope you get to enjoy them. :) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-C5ukcDEaAe0.html
