I am a very organized person, who likes to work in a structured way. When it comes to analyzing movies, it is the same for me. The filmography of Yoshihige (or Kiju) Yoshida is new terrain and I like to start from the beginning. Before watching any of his films, I knew that he did quite a racket with “Eros + Massacre” (1969) and “Heroic Purgatory” (1970), both sufficiently discussed by many scholars. But before venture on these so-called classics, I prefer to begin at the roots of Yoshida's work, which brings me to his debut film “Good for Nothing” (1960).
But first, who is Yoshihige Yoshida? Graduated from Tokyo University he joined one of the big Japanese film studios, Shochiku, in 1955. After five years as assistant director, he got the chance to direct his first movie, “Good for Nothing”. 1960, the year of its release, was a critical year for the studios. The emergence of television threw the industry in a financial crisis and the commercial and conservative focus of the leadership ranks contradicted the beliefs of many young filmmakers within the studio system. Besides Yoshida, there were also Nagisa Oshima and Masahiro Shinoda, who together formed the “Shochiku New Wave”, referring to the Japanese New Wave. In the course of their careers, they were put off by the constant interference of the studio and ultimately decided to leave and establish their own production companies. During his lifetime, Yoshida directed more than 20 films and wrote books about cinema, including an award-winning study of Yasujiro Ozu. But before becoming independent, Yoshida had the opportunity to realize this project within the walls of the Shochiku studio.
Good for Nothing is part of an upcoming program by Japan Society
“Good for Nothing” is a film about a group of four young men. Two of them are wealthy and the other two descend from a poor background. During the film, the group starts to erode because of financial differences. Yoshida focusses on Jun, who is one of the two poor group members, and his relationship to a woman called Makino.
Like other great pieces of the Japanese New Wave, for example, “Crazed Fruit” (1956) by Ko Nakahira, “Good for Nothing” deals with the bored Japanese youth, their attitude, and lifestyle. As they roam around in a fancy car and play tricks on people, Jun happens to fall in love with Makino, who is the secretary of one of his wealthy friend's father. As they mingle, Makino tries to retrieve Jun from the bad influence of the group. But Jun himself is undecided, and not willing to fully confess his love to her. He is caught between the easy life, leeching off of his rich, but vicious friends and his own desire to stand on his own feet, starting a serious relationship with Makino. In the end, his macho ego becomes his misfortune.
Yoshida delivers an interesting, and also political film by showing the dynamics of the boys. Toshio Akiyama (Yusuke Kawazu), son of a wealthy businessman is the leader of the group. According to his father, he has no sense for value and no interest in anything. He likes to manipulate and play games. Fujieda is the other rich kid in the ensemble. He is rather silent and seems to be a failure in school and therefore leaves the group because he is sent off to America by his parents, who are embarrassed by him. Jun and Morishita are the poor ones. They are both students at the university, but Jun barely shows up at the lectures. Morishita is the more radical one and causes the overboiling conflict at the end of the movie.
Jun is a more complex main protagonist, played by Masahiko Tsugawa who is known from many film such as Nagisa Oshima's “Sun's Burial” (1960) or “Night and Fog in Japan” (1960) and also became the favorite actor of the late Juzo Itami (“The Funeral” 1984, “Tampopo” 1985 etc.). His youthful acting captures the inner conflict of his role very well. Jun personates a character who denies growing up. He does not want to take responsibility. Tragically, as soon as he takes responsibility he is doomed.
“Good for Nothing” further picks up on several other elements of the Japanese New Wave, that can be found in various films of that time. A jazzy soundtrack, experimental traits in cinematography (done by Toichiro Narushima, “Double Suicide” 1969) and a political framing, that puts the uprising neoliberalism of the Japanese economy in a questionable light. Yoshida also focusses much on the topic of masculinity within the male-female ratio. His protagonists follow a strict patriarchic order. Women may seem a little subordinated in the plot. This contradicts one of the main elements of Japanese New Wave and may foreshadow more radical films that follow up in Yoshida's career, showing more powerful women.
Nevertheless, Makino, the female main protagonist, who is played by Hizuru Takachiho (“Zero Focus” 1961), is self-sufficient and stands up to the amorous intentions of her colleagues and embodies a more mature individual than the group of boys, who still need to prove their manhood by tests of courage. Makino's background is also part of a subplot, evolving around Hisako, who is married to Makino's brother, Shinichi. The three of them live together and Makino is supporting them with the money that she earns as a secretary.
Coming to terms, “Good for nothing” is a solid entry in a long line of films that tried to portray the current state of Japanese youth in the late 50s, beginning 60s. It plays along the rules of the studio, breaking away at some points, but does not become as controversial as other delegates of the genre.
