KAMATAKI

Canada/Japan, 2005, 110 minutes, Colour.
Matt Smiley, Tatsuya Fuji.
Directed by Claude Gagnon.

Kamataki is a fine and beautiful film. The director, Claude Gagnon, is married to a Japanese wife and spent a decade there during the 1970s. He is able to look at his own native French- Canadian culture as well as that of Japan and the interactions between an eastern and western culture.

The film focuses on a young man, well portrayed by Matt Smiley, who is suicidal after the death of his father. His desperate mother sends him to his uncle in Japan, an uncle with whom his father had fallen out. The uncle is portrayed by Tatsuya Fuji, a veteran Japanese actor.

The uncle is a potter, using the ancient art of kamataki. The film portrays the detail of pot-making and uses it as a way of calm, meditation as well as an opportunity for responsibility, especially keeping the fire at the right heat in order for the pots to set. The situation gives the young man an opportunity to reassess his life, see his French- Canadian background in perspective as well as understand something of his Japanese heritage.

The portrait of the old man is a mixture of wisdom and humour. It shows his different relationships with women, a different standard from that that the young Canadian man expected. The young man then has to learn the nature of relationships, of love and commitment.

The Japanese settings are beautifully photographed, contrasting with the icy opening in Montreal.

The film explores values, the spiritual journey, the meeting of cultures and mutual understanding. Kamataki won the Ecumenical Prize at the Montreal Film Festival, 2005.

1. The quality and acclaim of the film? Its impact? Entertainment? Insights?

2. The director, his background in Japan, his wife? His Canadian background? The meeting of the two cultures? A blueprint for the future?

3. The Montreal opening, the river, the letter of the mother to her brother-in-law? The explanation of her request, Ken’s attempted suicide? The contrast with the end, Ken and his tranquil fishing in the river? The letter at the beginning, Ken’s letter to his mother at the end?

4. The portrait of Japan, the beauty? The countryside and roads? The old and the new? The mountains and rivers? The house, the workplace, the kiln? The interiors? The contrast with the city, modern? The uncle’s hideaway with the razor display? The score and its blend of new world and old, Canadian rock, American songs, Japanese traditions?

5. The title, the focus on art, craft, tradition, ritual, the sacred and beauty?

6. Canada and its experience of migrants? Of migration to other cultures? Canada and the possibility for alienation, searching for cultural and family roots? The experience of grief? Suicide? The need for help, the new world? The puzzle of a new world, with its differences and difficulties? The possibility of transformation, the human influence, cultural? Taking on of responsibility? Loving and being loved?

7. The elemental nature of the film: the emphasis on earth, the clay, potting, the clay and forming vessels and beauty? The air, its purity? Fanning the fire? The fire, the kiln, the creation of beauty by the furnace? Water, the St Laurence, the Japanese rivers, the healthy water in the countryside, the purity of water?

8. The focus on fire, the balance between too strong and too hot, breaking and burning? Interior fire, balance, producing beauty? Even with flaws – as was the beautiful vase?

9. The sense of the sacred, the blessing for the ritual, the Buddhist background, Zen, balance, images and contemplation? The woman telling Ken not to spit on sacred ground? Ultimate union and integrity?

10. Ken and his story, aged twenty-three, his background in Canada, Canadian mother, Japanese father, his devotion to his father, attempted suicide? Going to Japan, at the station, meeting his uncle, having to get rid of the cigarettes? His staying, meeting the women, becoming an apprentice, the detail of his work, the puzzle about the art and his staring at the vases? His having to carry the water down from the mountain, his uncle’s comment on the purity of the water? The firing of the kiln, his work, rest? The pleasure of being shaved, fishing with his uncle?

11. Going to the exhibition, having to wear a suit? His feeling of alienation, discussing the art with the American girl, her enthusiasm? Going to the bar, his uncle and the woman at the bar, Ken and his disdain, lack of respect? His uncle’s rebuke? His having to accede to the woman, his refusal, his condemnation of his uncle? The uncle and his sexual experience? Ken and his drinking, arguing, wanting to leave, driving, pulled over by the police, his uncle telling him about the fine, his being sorry? His uncle allowing him to make mistakes? This as a turning point for Ken?

12. His second phase, becoming an apprentice again, feeling that he owed his uncle something? The making of the clay objects, talking with his uncle, the American girl, sharing the room, talking with her, his watching her as she showered, her commonsense remarks? The issue of sex, his non-response, the talk about being gay, his inability to feel? His comments on the old woman and the brash comment of the young about older people and sexuality?

13. The firing of the kiln, the many days, the film’s measured pace, the rituals, the religious blessing at the beginning? Keeping vigil, taking shifts? The routine, work, rest? The Zen of having the wood ready to throw into the furnace, keeping the furnace at the right temperature? The uncle being sick, the old lady bringing meals, staying and watching? Ken and his diligence, success, his dance of exhilaration? His uncle’s gift of the razor, showing him the exhibition? Sharing with him?

14. The issue of the water, Ken discovering the water in the house was good, his uncle explaining about carrying the water and being healthy? About his own lack of health as he came, the change in his face, his becoming healthy? Ken’s puzzle about the half-moon art, the explanation of the message? The voyeur experience with his uncle and the old woman? Receiving the half-moons, the slow ritual and respect with which he went to the older woman, the camera cutting away? His exhilaration, stripping off, leaping into the water? The Zen of sexuality – his not feeling anything, the passionate evening with the American woman, the more measured and balanced experience with the older woman? The possibility of relating – and the postscript with the young girl?

15. The portrait of the uncle, both the sage and the fool in the best sense? His art, skills? The clash with his brother and his not remembering the detail? Meeting Ken, the cigarettes and the rules? The rituals of the house, meals? The language – speaking English, the women and their joking about speaking English, Ken gradually learning some Japanese? The experience of shaving – being shaved for pleasure? His singing and karaoke style? ‘Summertime’ and Gershwin? The art, moulding the clay, firing the kiln? The exhibition, in the bar, the sex, his explanations to Ken? His warning about the fine, forgiving him, admitting the stakes? The American girl, her work as an apprentice, her skills? The brash American, his pouring the tea and spilling it – with the message about having an empty cup in order to be filled? Feigning his sickness, saying he trusted Ken? His response to the success of the firing, admiring the handicraft? The aftermath, the razors, listening to the American music, the Canadian songs? His advice for his nephew? Saying he loved him?

16. The sketch of his wife, the older Japanese woman? Japanese hospitality, courtesy? The old woman and her secret lover and the sign, the uncle going to her? Their bringing the meals, keeping vigil?

17. The American girl, learning, open to Japan, the language, the skills, enjoying her work? The discussions with Ken, the encounter – the farewell at the station?

18. The sketch of the brash American, the American offering advice, not listening, not appreciating the Zen lesson, going and being angry?

19. The postcard at the end, the touch of sentiment, Ken explaining to his mother playing the drums, with the girl, the bicycle ride? This for his mother and in her language and expectations?

20. The final scene, Ken alone, his sense of peace and identity, fishing as his uncle did? His transformation and future?