NikkeiWest--Northern California Japanese American Newspaper

By Elanor and Sarah Sakamoto—Grauman’s Chinese Theater is iconic. It stands tall, overlooking famous Hollywood Boulevard. The hand and footprints of generations of stars lie at its feet. But that’s not where this premiere was held. No, the GANTZ movie world premiere was held in an offshoot of the theater, Chinese Theater 6. Don’t tell that to the fans though. To them, this was the biggest premiere of the century, and, in a way, they were right.

The first of two GANTZ live-action movies premiered in Hollywood on Jan. 20, over a week before the release in Japan, the film’s country of origin. GANTZ began as a popular manga, or graphic novel, created by Hiroya Oku, debuting in a Japanese magazine called Weekly Young Jump in 2000. It quickly gained a huge, dedicated following here in the United States, and around the globe. Dark Horse Comics picked up the U.S. publication rights in 2007 and started distributing the translated work in 2008. Following the manga came the anime, or Japanese animation. The manga is still on-going, though the author has stated that the current arc will be the final one.

In any form, GANTZ is not for the faint of heart. There is bloody, graphic violence and intense sexual content, so extreme that in both Japan and America the anime series was censored. Only the DVD releases were allowed to show the full, uncut version. And yet, this series is worth your time. There is quick, light humor to break up the weighty reality of war and suffering, complemented by a message that evokes an integrity, passion, and hope that anyone would want the courage to act upon.

GANTZ screened a single showing in 334 theaters nation-wide. To put this release into perspective, GANTZ opened in Japan on Jan. 29 in 410 theaters; a huge release for Japan. It took first place at the box office its opening weekend bringing in approximately $7.2 million, not including overseas figures. In comparison, here in America, supernatural, suspense-thriller The Rite opened in the number one spot that same weekend in just under 3,000 theaters, and brought in approximately $15 million. The ratio of theaters to box office income clearly shows that GANTZ is a blockbuster film by any standard.

The screening of the movie was immediately followed by a Q&A discussion session with the film’s leading actors Kazunari Ninomiya and Ken’ichi Matsuyama, led by Otaku USA Editor-in-Chief Patrick Macias, broadcast live from Hollywood to the other 333 theaters. While both actors are highly acclaimed, widely recognized talents in Japan, each having won multiple acting awards, they are relatively unknown in the United States. Here, Ninomiya is best known for his work in Clint Eastwood’s Letters from Iwo Jima, and Matsuyama for his portrayal of “L” in the Death Note movies, and spin-off, L: Change the World.

Tickets to the live Hollywood event were decided by lottery. Consequently, the audience was filled with only the most ardent of the actors’ fans, some of whom arrived before noon for the 5 p.m. screening. Though the crowd was primarily female, a large span of ages and ethnicities were represented. Spirits were high as they waited patiently for the 3:15 p.m. check-in.

A feeling of friendly camaraderie permeated the atmosphere as fans received their tickets and complimentary GANTZ t-shirts, and lined up along the walls of the lobby awaiting the opening of the theater doors. Brief camera flashes bounced off of smiling faces and glittering homemade signs proclaiming things like “Nino daisuki!” (I love you, Nino!), “Nino” being the fans’ nickname for actor and pop idol Ninomiya. Then the actors walked in. An explosion of screams from excited fans reverberated through the building, punctuated by flashes of light. Our hearts raced and fingers fumbled to reach for cameras to join in the glittering lights. The appearance of the actors raised the excitement to new heights; ropes and bodyguards were just enough to keep the crowd at bay. The crowd was still abuzz when they were finally allowed to take their seats in the theater.

The actors had flown in to California from Tokyo, after having done interviews for Japan’s news media that same day several time zones and a 10-hour plane ride away, to personally show their appreciation to fans here in America at the world premiere. When asked during the Q&A session how it felt to attend two premieres in one day, Matsuyama had the following to say:

“Simply being able to come here, it’s a great honor for us, and not an opportunity that comes up very often. To be able to speak with all of you like this, as a part of that, it’s a rare occasion. We’re honored.”

Ninomiya and Matsuyama entered Auditorium 1 of Chinese Theater 6 to preface the movie with a brief introduction which was broadcast live to the other 333 theaters. It was a fantastic experience and honor for all in attendance. The honor was compounded by the fact that the movie was premiering here in America before its national release in Japan. Ninomiya and Matsuyama exited the stage to thundering applause. The lights dimmed, the anticipation mounted, and the first line of dialogue was spoken. The entire audience groaned with disappointment.

Viz Pictures and NEW PEOPLE undoubtedly thought that dubbing the film in English would open the movie up to the greatest viewer-ship possible. From the audience reaction in that Hollywood theater, what dubbing did was to render dramatic scenes comic and drain tension from suspenseful moments.

Viz is one of the few companies that brings Japanese movies to American theaters. For that they should be commended. What they don’t seem to understand is that audiences who come to see these movies are smart enough to read subtitles.

During the interview immediately following the film, a question was posed to the actors: “What was it like watching your faces, but hearing someone else’s voice?” Ninomiya responded, “Sugoku fushigi deshita” (it was very strange). While remaining complimentary of the voice-over actors, Ninomiya expressed his desire for the character he created onscreen to speak with his voice. He even went so far as to say he and co-star Matsuyama should study more English so that they can dub themselves. Matsuyama agreed that it would be nice to hear their own voices in the movie, but expressed doubts at being able to attain the same depth of emotional characterization in English as he is able to in his native language, Japanese. Ninomiya went on to say that after being granted the honor of being a part of such an amazing production, he wanted the fire, the “netsu,” of their performances as actors to reach the audience. Dubbing definitely dampened that fire.

In spite of this, the movie held up well. Fans of the manga should be pleased as many iconic images from the comic made it onto the big screen. A note for the “die hard” fans, there were adjustments made. However, these are adjustments that make sense, and keep the integrity of the manga artist’s vision, as well as open the story up for more people to enjoy. The gore and sexual content that the manga is known for were maintained, albeit carefully modulated by camera cut-aways and suggestion rather than overt displays. In an interview for Japanese television news show, News Zero, Ninomiya stated that this “toning down” of the violence and sexual content of the manga was a conscious decision on the part of the filmmakers so that younger teens would be able to experience the movie. (In Japan, the film carries a PG-12 rating similar to an American PG-13 rating.) This was critical to them because they felt that the emotional and ethical content was what was most important in the story, and they wanted it to reach as many people as possible. The instances of both gore and sexual content decrease as the movie progresses and the focus of the story shifts to the emotional conflicts faced by the characters. Still, this isn’t a movie for the squeamish.

Kei Kurono, played by Ninomiya, is an average college senior. He’s interested in girls and finding a job. While waiting at a train station, he recognizes Masaru Katou, played by Matsuyama, a classmate he hasn’t seen since they graduated from elementary school. A man falls from the platform onto the tracks, and Katou jumps down to save him. Katou can’t pull the man up alone, and while scanning the crowd desperately crying for help he sees his old friend Kei. Kei ignores him, reluctant to get pulled into the situation. Katou wrestles the man to the platform alone where bystanders drag him to safety, but is unable to pull himself up. The sound of the train rumbles up the tunnel, and Kei kneels down to give his friend a hand up. He overbalances and both men are hit by the train.

They wake in a small, empty, white apartment. There are several others there, all strangers, all apparently just as bewildered as Kei and Katou. There is also a large and mysterious black ball. After the appearance of one more individual, the motley group is instructed by the black ball, called Gantz, to kill an “onion alien.” The ball springs open to reveal an assortment of strange weapons, and black cases with names on them. The cases contain black body suits. As they examine the ball, the weapons, and the suits, they each begin to disappear, transported to an outside location, and their first mission begins.

In the course of the movie, Katou’s defining characteristics prove to be inner strength, and caring. He wrestles with his perceived inability to “save” anyone, despite his earnest efforts. Kei, on the other hand, progresses through shock, disbelief, realization, cocky self-assuredness, and remorse. Throughout everything, our protagonist struggles to find his identity. He begins the journey feeling helpless, disconnected from society. When he is given the power to change things, he attempts to keep people safe by taking everything on himself, screaming defiance at those who try to help, accusing them of interfering and doubting him. Eventually, after great loss, he realizes that it’s only by working together and utilizing each individual’s particular strengths that they can survive and succeed.

This very human, very real, message might be delivered in a slick, sci-fi black capsule, but it’s a message that rings true throughout history and across cultures.

In the 70’s, Japanese-Americans were just beginning to struggle with finding their cultural identities. We began asking our parents and grandparents for answers. We started to look at our Japanese cultural legacy and tried to figure out what it meant to us, and what it might mean to future generations.

In the 70’s, Americans had limited access to Japanese films, but that never stopped the fans. They found ways to get their hands on Kurosawa, Godzilla, and Ultraman, and ways to connect with other enthusiasts. They learned Japanese to get what they wanted, and gleefully imitated the stilted English of the dubbed dialogue.

Now, with the proliferation of the internet, much of the feeling of distance is gone. A google search reveals a myriad of blogs and websites on the Japanese-American experience, the Asian-American experience, university level Asian-American studies programs, as well as opinions posted by Japanese-Americans on any number of subjects. Another google search will reveal a slew of sites devoted to contemporary Japanese pop culture, and the review and appreciation of Japanese films, anime, and TV series.

The GANTZ premiere brought together people from many social strata. Japanese fans living in America. Caucasian-Americans completely in love with Japanese culture and media. Comic book fans. People who have loved Japanese sci-fi for decades. Expert bloggers on Japanese pop culture. Yet, there was no pressure on anyone to be other than they were. Japanese-Americans were not expected to “be Japanese” or know more Japanese culture because of their ethnic heritage. Caucasian-Americans were not ridiculed for their passion for Japanese culture. Japanese nationals were not perceived as “outsiders.” It was an event that showed how far we have come. As Americans. As a society. As a culture.

During the Q&A session following the film, Ninomiya and Matsuyama each spoke of the ways in which attending the Hollywood premiere gave them new hope for the future of Japanese films in America. Ninomiya expressed pleased surprise at how much support for Japanese films already exists in America saying, “After being able to watch the movie [GANTZ] here, I feel like Japanese films have really reached a lot of people. And that, somehow, by being able to premiere in this place called ‘Hollywood,’ the likelihood that people will want to watch more, different Japanese films might increase.”

Matsuyama noted that while there have been hit films about Japan made by American companies, The Last Samurai and Memoirs of a Geisha, for example, the films have been largely period pieces. However, he said, “for Japanese films to show in new venues, and to be able to create a work like this... I feel like the ways in which America, and other countries, will be involved with Japanese movies might change in new ways. [...] If we were able to look at the future, or the present, and form the same sort of film collaboration... If that were to become a reality, then I think Japan, and the Japanese people, would truly see it as something to be proud of. I think it would bring new life to movie theaters across Japan. I have high hopes for the future.”

GANTZ is not the first Japanese film to premiere in the United States, but it is the first to do it on this scale. It shows not only that Japan is opening up to the United States, but also that the United States is ready to accept Japan. And if the audience reaction to the dubbing is any indication, at least a few Americans are ready to embrace Japan as-is, without simplification or the over-adaptation of trends.

Hopefully, the GANTZ premiere is just the beginning of a movement to bring contemporary Japanese movies to a larger American audience, and simultaneously acknowledge the evolution and growth of Asian and Asian-American culture in the United States.

We eagerly anticipate the second movie, GANTZ: Perfect Answer, slated for an April 23 release in Japan. Will it have a premiere in the United States? Will the actors return to make another appearance in America? Ninomiya stated that he will come back, and Matsuyama said he hopes to, but pointed out that it depends upon the producers. Movie producer Takahiro Sato, present at the event, stated that if we, the audience, continue to support the film, then they will make it happen.

Elanor and Sarah Sakamoto are heavily involved in San Jose’s Japantown community with family ties to both the San Jose Japantown Business Association and the San Jose Buddhist Church Betsuin. They are graduates of San Jose State University with B.A.s in Japanese Language and Dance, respectively, currently working in occupations that have nothing to do with their majors.