Movie Monday: "Cats of Mirikitani," a film by Linda Hattendorf, 2006.

I saw this documentary several years ago and then rediscovered it again this last weekend. The messages of this film, for me, stand as an important reminder not only of significant events in American history, but also as a mirror for our preconceived notions on the stories of the countless homeless.

The film takes place mainly in Manhattan over the course of a couple years, beginning in late 2001. Tsutomu Mirikitani lives along a wall near a Korean Market on McDougal and Prince Street, creating artwork each and everyday. His mobile studio includes pens, crayons, chalk and paints, and his canvases include cardboard and scrap paper. With the events of September 11, 2001 breaking around him, he continues doing what he does best, creating memories through artwork. Shortly after 9/11, Ms. Hattendorf invites Mirikitani to stay with her for a period of time, to avoid the choking dust and debris still permeating the air around the World Trade Center site.

Over the course of the film, Hattendorf uncovers more and more details of Mirikitani’s life, including his birth in Sacramento, California and experience growing up in Hiroshima City, Japan. He returns to the US shortly after the opening of World War II. In his early twenties, and as a lawful US citizen, Mirikitani entered Tule Lake Internment Center in Northern California, where he signs a government document revoking his US citizenship. The film follows not only the story of his relationship with his new friend and documentarian Ms. Hattendorf, but also unveils some of his backstory that led to living on the streets in NYC.

The important messages of this film not only center on the plight of the mobile homeless, which continues to be an issue for social services nationwide, but also a reminder of the dark times in US history and of justice deferred. Far too easy to dismiss the internment of Japanese American citizens during WWII as history and not applicable today, one need only review the rhetoric of political demagogues against our Muslim citizens to realize such events could repeat themselves. Mirikitani expresses his anger and lingering, seething disgust at the events of World War II, and memorializes his experience in the internment camps through his artwork. He neither asks for nor wants anything from the US government, even as Ms. Hattendorf and her team work tirelessly to recover Mirikitani’s citizenship information and secure more public assistance for him in his advanced years.

The latter part of the film is lovely, as Mirikitani and Hattendorf slowly bring his story into the present moment, and realize that he is not alone in this world. Over time, family members are found and Mirikitani sees opportunity to work past what happened, and truly begin to see his life in the present moment.

Nancy Wong via WIkimedia Commons

"Janice Mirikitani in front of the International Hotel in San Francisco, January 1977"

The film is not always easy to watch, particularly at moments when Mirikitani’s cantankerous attitude aims at the filmmaker. I sometimes felt like Mirikitani didn't appreciate some of the kindnesses the filmmaker expressed, but after realizing his long history of being outside normal social channels, I feel more kindness towards his perspectives. Even though he sometimes criticizes the filmmaker’s decisions, once reprimanding her when she goes out to a movie and comes back to her apartment far later than expected, he does so because of worry and care for the young woman. Other moments legitimately made me tear up a little, particularly when the film explores recollections of the camp experience and of lives lost.

I encourage everyone to check out this film when given the chance. It is rather short and moves along at a good pace. It successfully introduces audiences to one story that helps humanize the events against Japanese American citizens during WWII that may only be known through textbooks. It also humanizes the ongoing social issues surrounding homelessness and our own personal notions of just who the homeless are.

Purchase "The Cats of Mirikitani" via Amazon

Movie Monday: "Proud," a film by Mary Pat Kelly, 2004.

Public Domain via Wikimedia Commons

This film came to my attention through Amazon Prime, as it was recommended based on my searches for American History films. I am happy that I got the chance to see this film. The narrative revolves around the exploits of the USS Mason (DE-529) destroyer escort during WWII, manned by a nearly all African American crew at a time when the military was segregated. This American history narrative is not well known or explored outside specialty history courses at a select few campuses. Unfortunately, historical narratives are sometimes limited by the prejudices and norms of the time they're written, and the USS Mason's narrative is a casualty of this condition. It is only from the 1970s, 80s and 90s that "minority history" has gained more recognition in the mainstream historical narrative.

Films like "Proud" are useful for introducing the audiences to hidden narratives, and serves to peak interest in the respective subject matter. "Proud" has a good quality cast that captures both the triumphs and shortcomings of WWII society and military efforts. The racism is present, and real, but is not overly front and center. The narrative focuses not as much on what society believes these men cannot do, but shows how the men themselves respond to the conditions they are introduced to, both in the navy and in the war. I'll admit, I know little about the mainstream actors in this film, so I cannot adequately comment on their respective filmographies. On viewing this film, however, it seems like each actor brought their respect and efforts to bear in their characters. What I appreciate a lot about this docudrama is the use of actual primary source footage from the USS Mason's missions. I believe this supports the overall structure of the film, as a grandfather narrating his experiences and memories to his grandson and friends.

The film opens with one of the main characters, as an older man, narrating his experience in Harlem, and how it became a home for him and his family. His grandson is living with him, and invites his friends over to listen to loud music in the early morning hours. His grandfather is woken up and goes downstairs to tell them to turn that noise off, and how the living situation really isn't working out. This sets the stage for him to tell his story, and how recognition for their efforts has been a long time coming. He has not held on to anger about the slight, however, and this paints the portrait of one seaman's response to their prejudicial treatment. He says that if he had given in to anger and resentment, it would have justified "their" (white men in government, American society, all the doubters, etc) point of view of African Americans at the time.

This film is intriguing to me, as I admit knowing relatively little of the African American experience during World War II. My own research mainly centers on Asian American experiences during World War II, so I am thankful for having another perspective. While it is not surprising to see that prejudice reigned among sailors and government officials during this time, what was refreshing was how the film portrayed the Captain of the USS Mason caring for his crewmen within the context of sailors, not African Americans who happen to be sailors. Further, I was surprised at the treatment of the sailors on shore-leave in Northern Ireland, where the men welcomed them as Yankees first, not black men. The narrator states that he was surprised the crew had to travel all that way to be treated like Americans.

Any viewer interested in the lesser known, but well worthwhile, stories of WWII may like this film. While not perfect, it is a refreshing plot reminds viewers that Americans of all backgrounds fought against the Axis Powers. Whether viewers see too much patriotism woven in this story is largely left to the opinions of each individual, but it is hard not to feel a sense of national pride any time there is a war film. Hopefully, films like "Proud" will be shown more often in classrooms, if not necessarily for the raw historical accuracy, then to visually represent alternative stories for students not familiar with the role all Americans played in the Allied victory in WWII.

Stream or Purchase "Proud" on Amazon

Movie Monday: "Grave of the Fireflies," a film by Isao Takahata, 1988

By Pkisme (Template:Pkisme) via Wikimedia Commons

"Grave of the Fireflies," a film by Isao Takahata, 1988.

A little late, but this review is dedicated in remembrance of December 7th, the 74th Anniversary of the Imperial Japanese attack on Pearl Harbor. I chanced upon this Studio Ghibli gem in 2005 while studying abroad in Tokyo, Japan. I had had a rough day, and wanted a film to ease my uneasiness. This was definitely NOT a feel-good film, and I should have watched director Isao Takahata's other work, My Neighbors the Yamadas. Having said that, I do not regret the chance viewing. This film depicts the struggle of the everyday people to survive during war. The story revolves around a brother and sister in World War II Kobe, during the American firebombing campaigns. While not originally intended as an anti-war film, in North America the graphic nature and drama of this film inspired this kind of take-away message.

In my opinion, this is probably Studio Ghibli's most serious and painful film. Based on Akiyuki Nosaka's semi-autobiographical story of the same name, Hotaru no Haka or "Grave of the Fireflies" showcases the quality we've come to expect from Studio Ghibli. The voice acting, as viewed in Japanese, captures the innocence of childhood under extreme stress. I feel like it captures a realism that is almost unavailable with real actors, although the sheer weightiness and tragedy of the narrative reminds me of Osama, Siddiq Barmak's 2003 film about post-Taliban Afghanistan. The art style is classic Studio Ghibli, and fans will recognize the hues and color coordination of Michiyo Yasuda, although innovative use of color made this film remarkable for its softer palette, given the plot.

Reminiscent of Sir Richard Attenborough's 1982 Ghandi, audiences are immediately given the fate of the main characters. This does not detract from the film, but sets the stage for the unfolding narrative. Ninth-grader Seita narrates his sister Setsuko and his fate just after the unconditional surrender of Japan to the Allies during World War II. He is dressed in a nice school uniform as his sister recovers a Sakuma Drops tin, tossed by a janitor into a garbage field near Sannomiya Station. The film then moves back in time, as Seita and Setsuko rush to secure a few belongings before heading to the bomb shelter with their ill mother.

I believe the significance of this film is not who was to blame for the war. In my viewing, I see the often silent tragedy of warfare is the real human cost to the civilians caught in a conflict. We see this now with the ongoing conflicts in the Middle East, just as the Japanese Americans confinement after Pearl Harbor, to the enslavement and torture of East Asian and Southeast Asian guerrilla fighters and civilians to fuel the Japanese war machine in World War II. While it is clear the Allies are bombing Kobe, there is no American person shown in the film. Instead, in true Studio Ghibli style, the film focuses on the challenges of two children, trying to survive in wartime. Among many themes, we as viewers are introduced to the selfishness of family and neighbors during times of scarcity. We see the real cost of war is not only on the battlefield, although a terrible venue, but in the homes and minds of the people whose military and politicians are competing for world domination. Further, I feel this kind of film illustrates the important difference between civilians of an enemy nation and an enemy combatant. A distinction often ignored in many popular conceptions of wartime history.

This is not a film to watch casually while doing household chores. Frankly, I have a hard time actually recommending this film for entertainment, but it is necessary that any student of history, patriot, politician and educator see it. A truly educational, informative and heartbreaking look into the realities of war. In the United States, the anti-war message is a strong current, however the original Japanese version, and vision from Isao Takahata's direction, had a message of what can happen when hopelessness overcomes the will to survive, and the failure of family and the failure to survive in the face of hardship. Either way, this film commands an hour and a half of the viewer's undivided attention. Your eyes will be opened, if a little moist.

Purchase "Grave of the Fireflies" on Amazon.