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(More customer reviews)A lemon placed as a totem on a starting block. The torn feet of drained marathoner. The fleshy cheek of a shooter oozing over the butt of his rifle. The turkey-like jowls of older spectators. The squint against blinding lights of an athlete from Chad as he steps off a plane and into the alienation of city life for perhaps the first time. Rain on a sopping wet track. Trains clattering over bridges. The splat of a hammer in wet turf. The almost obsessive-compulsive preparation of a shot-putter has he prepares for his throw. The nonchalant strength and focus of a winning judo expert. A yachtsman, while leaning far out over the water to balance his craft, capricously dipping his hand into the water as it passes inches from his face. The giddy excitement of a little girl spectator clapping and cheering for the sake of it. A member of the American delegation breaking the solemn ranks of the opening ceremonies to chase away a pigeon.
All these things, and countless other human details, are elements that make up director Kon Ichikawa's loving portrait of human aspiration: "Tokyo Olympiad".
At least as important as what it does, is what "Tokyo Olympiad" does not do. Unlike television coverage of the last few Olympic games, it does not plead for our sympathy by drowning us in "human interest" stories of hardship, cancer and family tragedy. Unlike in newspaper and television coverage of the games, the politics and ambition of individual nations' teams is far in the background. Unlike Leni Reifenstahl's "Olympia", it does not hold the athletes up as demigods, asking us to fawn over the glorious perfection of their shining bodies and heroic achievement. And, most importantly, it does it seek present a complete account of the final results of the events. Doing so in a 2 1/2 hour film would be impossible anyway.
More important to Ichikawa is the experience of the event itself- from both the spectators', and participants'- both winners and losers- point of view.Each event that that falls under the directors gaze, is presented in its own idiosyncratic way- with much attention given to the composition and visual texture of events as well as the human elements of each sport.
In one of my favorite segments- the women's 80m hurdles- Ichikawa begins by showing us an almost abstract close-up of the race we are about to see. In this way, the director seems to be saying that it's not the official result, but the intense feeling of being in such a race, which is important. Cutting back to before the race, the camera follows the athletes as they pace the field and go through their often quirky preparations. The Japanese runner, psyching herself up, jerks her head from side to side, does a childlike summersault, jerks a few more times, then does a cartwheel. In the next shot, with no explanation, we see that she places a lemon on the staring block, which Ichikawa allows us to consider for a second. With the runners lined up, the camera goes into extreme slow motion. We witness the sinew, focus and tension at the starting block. The din of the crowd is faded out, and all that remains is the sound of ropes rhythmically clanging against the stadium's flagpoles in the wind. Then even that fades out, the gun fires, and, as the runners powerfully push out of the starting blocks, silence. We are shown a front view of the brief race in extreme slow motion. The mood is pierced once by the bang of a single runner hitting her hurdle. Then, as the final hurdle is cleared, the roar of the crowd swells and the lead hurdlers break the tape.
Compared to this, who ended up winning the race is mere trivia.
Each event is treated in own careful manner- revealing not the sporting drama of scores, distances and times, but the feeling of human aspiration embodied in motto "citius, altius, fortius". The dramatic marathon, the last event to be shown, is a masterwork, into which is impossible to not be drawn in.
Ichikawa views the Olympics idealistically. Through stunning images, and the color-commentary-like narration (in subtitled Japanese) we come to experience the Olympics as an event about human beings (instead of nationalistic athletic juggernauts) coming together to compete in an atmosphere of peace. After seeing athletes and spectators from all over the world cheerlly mingle, cheer, and celebrate, one sees the Olympics as a reminder what world peace can look like. It's just the sort of thing that the planet needs from time to time. It gives us something to work towards.
The DVD is mastered beautifully, and the colors are subtle and rich as a documentary film from 1964 can be. The sound is excellent. The enclosed liner notes by sports-writer legend George Plimpton are vivid and enlightening. (Can you tell I like this DVD?) The commentary by Peter Crowie provides the fascinating back story of the film through stories of the athletes of the Olympics themselves- though I would recommend watching the film without it the first few times. He also makes comparisons between today's Olympics (Sydney) and these games- relatively (though not entirely) untainted by the politics of performance enhancing drugs (though it is quite likely that they were used extensively) and the excessive commercialism of the modern sporting world.The finely sculpted, corporate sponsored, bodyguard protected, superstars of today seem, somehow, less human than these athletes- allowed to walk freely around the field before their heat, who were not ensconced in some distant, private training camp away from the lesser mortals from lesser countries, and who were allowed to experience the Olympics in much the same way that Ichikawa wishes to portray them- as a big celebration of what it feels like to have something in common with new friends from all over the planet.
In the included 1992 interview in Tokyo Stadium- where the track events had taken place 28 years earlier, Kon Ichikawa was asked how he would film today's Olympic games, if commissioned to do so. "Pretty much the same way", was his reply. I would love for this to happen.
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In this classic documentary, one of the world's finest directors captures the colorful pageantry and emotional intensity of the 1964 Olympics.Kon Ichikawa's Tokyo Olympiad is both a celebration of Japan's postwar recovery and an artistic statement about athletic competition.To produce this epic work, Ichikawa (The Burmese Harp, Fires on the Plain) brings together an impressive team, including his wife and collaborator Natto Wada, renowned cinematographer Kazuo Miyagawa (Rashomon), and 164 ubiquitous cameramen.Using his talents as a novelist, Ichikawa searches out the human side of the Olympics in such dramatic moments as Vera Caslavska's virtual sweep of the gymnastics medals and Billy Mills' astonishing, come-from-behind victory in the 10,000-meter race.
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