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Taiheiyo hitori-botchi aka Alone Across the Pacific

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Kon Ichikawa - Taiheiyo hitori-botchi aka Alone Across the Pacific (1963)



http://www.imdb.com/title/tt0057553/



Language	Japanese

Subtitles	included: English 



http://img3.imageshack.us/img3/4205/51tvvsrdaal.jpg



There's something about a solitary feat of physical endurance and accomplishment that can't help but capture a nation's
imagination.



In 1962 when 23-year-old Horie Kenichi completed the first solo sea voyage across the Pacific Ocean from Osaka to San
Francisco, a journey undertaken on an unpowered boat by a young man with little in the way of previous sailing
experience, the reaction in his home country was apparently one of widespread dismissal and even shame. In the Japan of
the time, the collective belief was that no individual should disrupt the harmony of the whole, and by secretly
embarking on such a quest without obtaining official permission, Horie's actions were seen not as heroic, but a those of
a criminal madman. It's a mark of the difference in the two societies at that time that in America Horie's achievement
was widely reported and celebrated, and although initially arrested for having no passport, he was quickly freed by San
Francisco's mayor and given a 30-day visa and the key to the city.



On his return to home shores, Horie wrote a book about his adventure, which the following year was adapted into a
feature film by writer Wada Natto and director Ichkawa Kon, who together had just completed An Actor's Revenge (Yukinojo
henge), one of the most striking Japanese films of the period. Alone Across the Pacific (Taiheiyo hitori-botchi)
apparently caught the public imagination in a way the event it portrayed had not. Perhaps it was due to the presentation
of the story in a format more readily associated with adventure and fiction, although a Japanese friend who grew up with
the cinema of this period suggested to me that it had more to do with the central casting of Ishihara Yujiro, an actor
admired by men and adored by women, in part for his tendency for playing characters who would chase after their dreams
in defiance of the rules and disapproval of society. Exactly what Horie had done in real life, then. Oh, the irony.



This cultural background to the story is hinted at in the film's bookends, as Horie sets sail in the dead of night from
Nishinomiya harbour with the hope that he will not be apprehended in Japanese waters (at that time small craft were
forbidden to leave the country without official authority), and in a final scene in which his father tells a press
conference in all sincerity that he will ask his son to apologise to everyone on his return. The bulk of the film,
however, is occupied by the journey itself, whose one-man-in-a-boat story is broken up by flashbacks to Horie's build-up
to and preparations for the journey and his conversations with family members over his intentions. It's an approach that
Brent Kliewer, in an essay in the booklet accompanying this very DVD, describes as being as daring as the venture
itself, which turns a curious blind eye to the fact that this very structure was employed by Billy Wilder six years
earlier to tell the story of Charles Lindberg's solo transatlantic flight in The Spirit of St. Louis. Which should in no
way detract from Natto and Ichikawa's achievement in constructing a gripping narrative from a story whose main character
spends a three month period in isolation from human companionship.



Like Wilder before him, Ichikawa employs the trick of having his protagonist talk to himself to both break up the
silence and keep us clued in on the condition of his craft and mental state. Any gaps are patched by Horie's voice-over,
which retrospectively keeps tabs on the journey's progress. Both techniques have their logic here, given that the film
is adapted from a first-person narrative written by a character who even in family flashbacks appears locked into his
dream. The flashbacks themselves benefit from their non-linear nature, disparate jigsaw pieces that eventually and
collectively contribute to a satisfyingly textured whole. It also helps that Ishihara so convincingly sells Horie as a
little man driven more by obsession than ambition – dressed in his every work clothes, he seems almost charmingly
dwarfed and misplaced on his arrival in San Francisco, a sensation enhanced by his innocent bewilderment at the
attention he attracts.



The 97 running time and economic narrative progression keep the story moving at an engrossing pace, but do so at the
expense of any deep exploration of the loneliness and sense of complete and even helpless isolation that anyone
undertaking such a venture must inevitably suffer. It's left to individual episodes – a flood of therapeutic
tears, concerns over the dwindling water supply, the extreme difficulty of navigating the small boat in a storm, his
repeated sea-sickness – to give us a flavour of Horie's hardship, some of which inevitably recalls Thor
Heyerdahl's six-man Pacific crossing on a balsawood raft as recorded in his own 1950 documentary record Kon-Tiki.



Cinematically, however, the epic nature of the trip is very effectively communicated, with Horie and his craft dwarfed
in the surrounding seas by Yoshihiro Yamazaki's scope cinematography and intermittently isolated within a darkened frame
in a manner also employed (though to more surreal effect) by cinematographer Setsuo Kobayashi in Ichikawa's previous
film An Actor's Revenge. Individual scenes are also particularly memorable, none more so than the inventory of supplies
collected for the trip, given arresting visual representation by a split-screen image of a scrolling packing list (which
the subtitles have no chance of keeping up with, given that they also have to cope with a simultaneous voice-over)
alongside footage of the items in question and Horie's preparations for the journey. It's one of those sequences that on
paper you can't see holding your attention for the four and a half minutes it runs, but is one of the most perfectly
realised in the film.



It may be tough to make a case for Alone Across the Pacific as a genuinely great movie – even enthusiastic
supporter Brent Kliewer describes it as "one of the most curious oddities in the director's oeuvre" –
but I'd still argue that it's a very fine drama whose historical importance comes as much from what you can read between
the cultural lines as its record of Horie's bold adventure. It's in the family flashbacks that this is most evident,
particularly the resigned disapproval of both of Horie's parents, a conflict of emotions most effectively caught when
his mother (played with touching subtlety by veteran actress Tanaka Kinuyo) is forced to accept her son's decision to
go, but tells him, "If you're caught in a storm and facing certain death, call out to your mother." Although
immediately cut away from and accompanied by no reaction shot, it's a line that touches on a number of cultural and
dramatic elements, and one that lingers over the remainder of Horie's voyage.



My source is the Eureka MOC release. My rip.





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~~~~~~ Taiheiyo hitori-botchi.avi ~~~~~~                                     

                                                               

File Size (in bytes):...........................1,062,871,040                     

                                                                                

--- Video Information ---                                                       

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Audio Bitrate Type ("CBR" or "VBR"):............CBR            

Audio Channel Count:............................2   



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