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The Magic Hour
[Blu-ray]
Blu-ray ALL - Japan - Pony Canyon Review written by and copyright: James-Masaki Ryan (17th April 2016). |
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The Film
 "The Magic Hour" (2008) Taking place in a seashore town of Sucago, low level gangster Bingo (played by Satoshi Tsumabuki) is playing a dangerous game by having an affair with Mari (played by Eri Fukatsu) as she is the wife of the gang leader Teshio (played by Toshiyuki Nishida). Bingo is sentenced to have his feet put in cement and dumped into the waters, but when he mentions the name “Della Togashi”, Teshio stops the death sentence. He tells Bingo that if he brings “Della Togashi” to the gang’s office, he would be set free without any punishment. The only problem is, Bingo has no idea who or what “Della Togashi” is except it’s a name that the boss held highly. Mari breaks it to Bingo that “Della Togashi” is the name of a hired killer (played by ?????) - the best of the best and one who never shows his face. Bingo talks Natsuko (played by Haruka Ayase) and Takashi (played by Goro Ibuki) who work at the nightclub and bar “The Red Shoes” about the mess he got himself into. When Natsuko mentions how it all sounds like a movie plot, it leads to Bingo with a crazy idea - hire an actor to pretend to be “Della Togashi” and bring him to the boss Teshio. At a movie studio is Taiki Murata (played by Koichi Sato) - an actor who just cannot get a big break. He is stuck with minor roles and stunt cameos at the workplace and is treated very lowly by other actors, but is at least respected by the studio’s veteran crew members and his manager Hasegawa (played by Fumiyo Kohinata) who know he has talent but just doesn’t get the chances he deserves. Bingo approaches Murata and the manager with an offer - the lead role in a gangster film, which is promising, but the director and crew are all first-timers and the script is completely adlibbed. Eventually Murata decides to take on the role - something exciting and new. Bingo recruits Mari, Natsuko, and Takashi to play along and pretend it is all a film (with hidden cameras shooting from many angles), while Murata method acts into being the professional killer “Della Togashi”. Will the gang figure out that Murata is just an actor? Or will Murata fully show his acting chops convincingly? “The Magic Hour” is writer/director Koki Mitani’s fourth film in the director’s chair following the critical and commercial successes “Welcome Back, Mr. McDonald” AKA “Rajio no jikan” (1997), “All About Our House” AKA “Minna no ie” (2001), and “Suite Dreams” AKA “The Uchoten Hotel” (2006). Common themes in Mitani films are a large cast of recurring actors, impending disaster, quirky characters trying to outdo each other, and various homages to the film world of yesteryear. With his previous film, the hotel’s setting was an amazing setpiece that was a character of its own. “The Magic Hour” goes even a step further, with an entire town being constructed - and though it is supposed to take place in Japan, the fictional town of Sucago looks more like a place somewhere in western Europe. And as the name suggests, Sucago has more in common with Chicago - the gangsters in the film do not look or feel like the typical Yakuza gang, but something out of a 1930’s Warner Brothers gangster film starring James Cagney or Edward G. Robinson. The tailored suits, the machine guns, the office building decorations are all straight homages from the old Hollywood films. The use of special effects in the film are all practical, from gunplay squibs, forced perspective sets, and matte paintings used in the film - in many places revealing the tricks of the trade. So is “The Magic Hour” supposed to be about pulling back the magician’s curtain? Possibly as a double meaning, but as taken from a speech within the film, “The Magic Hour” refers to the time just at sunrise or sunset, which produces the best and most beautiful lighting possible for photography. Probably the greatest homage to film is the cameo appearance by legendary film director Kon Ichikawa directing a film within the film, which turned out to be his final work in the film world. Mitani’s script plays in a very straightforward linear and singular fashion, rather than the multi-plot devices of his previous films. It is missing the jigsaw puzzle narrative but he has still managed to produce one of his best films so far. What really sells is the performance of Koichi Sato as the out of work actor who method acts his way into gangland. Everything from the mannerisms of an actor whose hiding his broken confidence, to the actor playing the killer with exaggerated body language and vocal tone in an equally serious and hilarious performance. Sato was quite a star prior to the film but this performance shot him to even a higher level, to the point that if anyone was to impersonate Sato, the famous comical knife-licking scene(s) in the film has become something iconic. Toshiyuki Nishida as the gang boss is a far step from his usual comedic work. Nishida’s most iconic roles were in the “Tsuribaka Nisshii” series of 20(!) comedy films in which he starred alongside Rentaro Mikuni, who is Sato’s real life father. Usually known for adlibs and over the top silliness, Nishida was strictly told to stick to the script, which did help to keep the stiff demeanor reminiscent of Marlon Brando in “The Godfather”. He was put in a very different position in the film playing the stoic boss, but pulls it off rather well, though some of the other actors could have played it as well with their more Yakuza-ish looks. Susumu Terajima who has played in many roles for Takeshi Kitano films plays the right hand man Kurokawa definitely has the gangster look, and so does Goro Ibuki who looks like a live-action Golgo 13. Though possibly for ironic casting Ibuki plays the bartender in a more comedic role. As usual with Mitani films, each character has a specific look, personality, character trait, or other random strangeness that makes them stand out from the crowd. As a bonus to connect the world in the film to his previous film, watch for the character of Kenji (played by Shingo Katori) from Mitani’s previous film “Suite Dreams” make a cameo appearance singing with his guitar on the street. “The Magic Hour” was a hit with critics and with audiences, though it failed to match the success of his previous film “Suite Dreams”. “Suite Dreams” grossed 6 billion yen while “The Magic Hour” grossed 3.9 billion yen at the box office. It was also nominated for 8 Japanese Academy Awards, though just like “Suite Dreams”, failed to win any. Regardless of awards, the film is a love letter to filmmaking and is for everyone who loves old school filmmaking. Note the film is on a region ALL Blu-ray disc which can be played back on any Blu-ray player worldwide and the bonus DVD is a region 2 NTSC disc which can only be played back on a region 2 or region free DVD or Blu-ray player
Video
Pony Canyon Japan presents the film in 1080p its original 1.85:1 aspect ratio in the AVC MPEG-4 codec. The visuals in the film play a very important role in terms of colors, detailed setpieces, and costume design, and everything looks perfect. There really isn’t anything to fault in the transfer. This 2008 released Blu-ray also happens to be the first THX approved Japanese Blu-ray so quality control was there. Strange how the THX logo used to be a commonplace in the DVD era, but has become rare for the Blu-ray era. Maybe that’s why there are quite a few shoddy HD transfers out there. The film's runtime is 137:06.
Audio
There are two soundtrack options available for the main feature: Japanese DTS-HD Master Audio 6.1 Japanese LPCM 5.1 “The Magic Hour” was also the first film directed by Mitani to use 6.1 sound, and is presented here in both 6.1 and 5.1 mixes in lossless audio. Both sound greatly enveloping, with the use of music and sound effects of the old school - the music reminiscent of Nino Rota scores and jazz standards are clearly reproduced, dialogue is perfect, and no instances of errors. Machine gun fire, explosions, and other small sound effects are also clearly put. Mitani’s previous film “Suite Dreams” had very little background music while this film has a very heavy emphasis on the original score. Again, nothing to fault in the THX approved soundtrack. There are optional English and Japanese subtitles in a white font for the main feature. Mitani puts a great deal of work into the English subtitle translations of his films for an international audience, and this track is also supervised by him. The translation is excellent but in the English font style, small case letters p, g, and y are a little problematic in the font, appearing slightly higher than the rest of the letters displayed. Very minor complaint here.
Extras
This is a two disc set, with the first disc being a Blu-ray with the film, commentary, and THX optimizer, and the second disc being a DVD with extras. Note the Blu-ray is region ALL and the DVD is region 2 NTSC. As with previous Mitani film releases in Japan, this one is packed with extras, but sadly all are in Japanese with no English subtitles. DISC ONE (Blu-ray) Audio commentary with director/writer Koki Mitani and actor Koichi Sato Mitani is a commentary veteran at this point, but Sato says that he has never done a commentary, has never heard one, and never even watched bonus features on a DVD or Blu-ray, as he is one to watch a movie and leave it as that, without thinking about the behind the scenes process. Ends up Sato is quite talkative on the track leaving Mitani with less time to speak, but most of the conversation is off topic - such as movies in general - favorite actors and directors, the process of getting characters. There are a few tidbits like Sato spilling the beans that he did have a drink before doing the famous magic hour speech in the film. Overall you will not get enough information on the film itself but it is a more laid back discussion rather than a commentary. in Japanese Dolby Digital 2.0 Audio commentary with director/writer Koki Mitani and Fuji TV announcer Kyoko Sasaki Since Mitani felt the first commentary did not get enough of the making-of process across, he is back for a second commentary with a TV announcer serving as a moderator. Everything from the set construction, music choice, casting choices are discussed, as well as other topics like writing a script on computer vs writing on a typewriter, why he chose the film to run for 136 minutes (give or take a bit for company logos), and inspirations from other films such as “The Godfather”, “The Sting”, and Disney movies such as “Mary Poppins” in the making of the film. in Japanese Dolby Digital 2.0 THX Optimizer For audio and video callibration. DISC TWO (DVD) "The Magic Hour Show" documentary (36:32) A TV special hosted by Mitani, which opens with Mitani doing stage magic and insisting that the film is not about magic, ironically. There are cast introductions, film clips, set construction behind the scenes, a set tour, and more. in non-anamorphic 1.33:1 and non-anamorphic 1.78:1, in Japanese Dolby Digital 2.0 "Stage Greetings" (with Play All) (21:08) A series of on stage greetings by Mitani and various cast members before and after the theatrical opening. - Completion (7:19) Taking place on May 8th 2008 at Roppongi Hills featuring the full main cast and director screening the film for a preview audience. in non-anamorphic 1.33:1, in Japanese Dolby Digital 2.0 - Press Event (6:18) A special press screening on May 29th 2008, Mitani and Saito are on stage for a short greeting followed by a post screening along with composer Kyoko Ogino to perform Saito’s magic hour speech with accompanying music. in non-anamorphic 1.33:1, in Japanese Dolby Digital 2.0 - Premiere (3:45) The theatrical premiere on June 7th 2008 with the full cast and director on stage. in non-anamorphic 1.78:1, in Japanese Dolby Digital 2.0 - Big Hit Tour (3:44) Mitani makes solo appearances on 6/21 and 6/22 taking selfies with theater audiences. in non-anamorphic 1.33:1, in Japanese Dolby Digital 2.0 Deleted Scenes (with optional commentary) (with Play All) (28:08) - S#5 (0:34) - S#7 (0:57) - S#11 (0:59) - S#14 (0:30) - S#19 (0:41) - S#22A (0:35) - S#23 (2:39) - S#35 (1:34) - S#40 (1:08) - S#48 (0:21) - S#55 (0:50) - S#59 (0:21) - S#62 (0:15) - S#64 (0:22) - S#65 (0:28) - S#76 (0:13) - S#86 (1:29) - S#103 (0:19) - S#149 (0:17) - S#151A (0:14) - S#157 (5:16) - S#159 (0:16) - S#160 (0:51) - S#164 (0:23) - S#176 (0:15) - S#178A (0:21) - S#178B (0:13) - Alternate Curtain Call (1:17) A large series of deleted and alternate scenes, highlighted with the full version of the black and white film within the film, “Underworld Sidekick” and the full version of Murata watching his own performance with actual tears from his eyes. There are time codes visible and is mostly presented in full aperture 1.33:1, so boom mics and ceiling lights are often visible. The optional commentary with Mitani and Kyoko Sasaki continues from the film audio commentary, with Mitani explaining why scenes were cut and a little more background information. in non-anamorphic 1.33:1, in Japanese Dolby Digital 2.0 "Making of Ankokugai no Yojimbo" featurette (7:14) “Ankokugai no Yojimbo” or “Underworld Sidekick” as it is called in the English translation is the black and white Casablanca-esque film within the film. Presented here is a standard behind the scenes look, and yes, the gun spin was done for real. in anamorphic 2.35:1 and anamorphic windowboxed 1.33:1, in Japanese Dolby Digital 2.0 Interviews (15:44) A series of interviews with actors just after they wrap their final scenes. Nothing too insightful. in non-anamorphic 1.33:1, in Japanese Dolby Digital 2.0 "1 Minute Magic" featurette (3:29) Mitani shows various cast mentions a few magic tricks with varying reactions. in non-anamorphic 1.33:1, in Japanese Dolby Digital 2.0 "Building the Set" - End Credits Full Screen (2:07) A time lapse montage of the set construction which is featured in the end credits, but in full screen. Quite self explanatory. in anamorphic 1.78:1, no dialogue, music Dolby Digital 2.0 - "Making of the Set" featurette (3:02) A time lapse montage and normal speed of the set construction from an alternate angle. in anamorphic 1.78:1, no dialogue, Dolby Digital 2.0 "Gun Effects" featurette (12:00) A look at the guns used in the film from the props expert. in anamorphic 1.78:1 and anamorphic 2.35:1, in Japanese Dolby Digital 2.0 "Yohei Taneda: World of Art" featurette (11:08) An interview with renowned art director Yohei Taneda, with topics including the map design, the set design, conceptual drawings, and more. This is Taneda’s second collaboration with Mitani following “Suite Dreams”, and he has extensive credits in the film world including work on “Kill Bill Volume 1”, “Ghost in the Shell: Innocence”, “Hana and Alice”, “The Flowers of War”, “When Marnie Was There”, and “The Hateful Eight”. in anamorphic 1.78:1, anamorphic 2.35:1, and anamorphic windowboxed 1.33:1, in Japanese Dolby Digital 2.0 "Time for Exercise" featurette (1:36) An exercise theme sung by comedian Hanawa featuring Mitani and two children. Not really sure who or what this is aimed at, but many might see this as “typical Japanese weirdness”. in anamorphic 1.78:1, in Japanese Dolby Digital 2.0 Storyboards (multi-angle) - #20 (1:52) - #23-26 (1:59) - #84-90 (6:15) - #178-180 (15:04) There are two options for all scenes presented: a picture-in-picture of the storyboards and the corresponding finished scene, and a full frame of the storyboards. The angle button can be used to switch between. in 1.78:1, in Japanese Dolby Digital 2.0 Gallery - Cast -- Koichi Sato -- Satoshi Tsumabuki -- Eri Fukatsu -- Haruka Ayase -- Toshiyuki Nishida -- Fumiyo Kohinata -- Susumu Terajima -- Keiko Toda -- Goro Ibuki -- Kazuyuki Asano -- Manjiro Ichimura -- Shinichi Yanagisawa -- Teruyuki Kagawa -- Masahiro Komoto -- Yoshimasa Kondo -- Zen Kajihara -- Kenji Anan -- Hyoe Enoki -- Keisuke Horibe -- Koji Yamamoto -- Kamejiro Ichikawa -- Kon Ichikawa -- Kiichi Nakai -- Kyoka Suzuki -- Shosuke Tanihara -- Yasufumi Terawaki -- Yuki Amano -- Toshiaki Karasawa One page each for cast members with a photo, brief bio, and filmography. in Japanese - Crew -- Koki Mitani -- Hideo Yamamoto -- Akira Ono -- Tetsuo Segawa -- Yohei Taneda -- Kyoko Ogino -- Soichi Ueno -- Full Film Staff -- DVD/Blu-ray Staff Crew listing gets a bio for each and filmography. in Japanese - Interactive Location Maps This interactive map will show where the location shoots took place and which scenes were filmed there. Similar to the extra provided on the “Suite Dreams” DVD set. in 1.78:1, in Japanese Dolby Digital 2.0 - The Making Hour (text and photos) 8 pages of text and photos chronicling the making of the film. in Japanese - Photo Gallery A manual scrolling photo gallery. Advertising - Trailers (with Play All) -- Manners Teaser (0:37) -- Teaser A (0:32) -- Teaser B (0:32) -- Magic Popcorn (0:42) -- 90 second Trailer A (1:32) -- 90 second Trailer B (1:34) in anamorphic 2.35:1, anamorphic 1.85:1, and anamorphic windowboxed 1.33:1, in Japanese Dolby Digital 2.0 - TV Commercials (with Play All) (6:17) -- New Year's Flower Illusion (1:02) -- New Year's Red Ball Illusion (1:02) -- Daiki Murata A (0:17) -- Daiki Murata B (0:17) -- Noboru Bingo (0:17) -- Mari Takachiho (0:17) -- Natsuko Shikama (0:17) -- Kenjuro Hasegawa (0:17) -- Takashi Shikama (0:17) -- 4 Second Spot (0:06) -- City (0:32) -- Noir (0:32) -- Love (0:32) -- Film (0:32) -- Story (0:17) -- Emotional A (0:17) -- Emotional B (0:17) -- Find Happiness (0:16) -- Countdown 5 More Days (0:17) -- Countdown 4 More Days (0:17) -- Countdown 3 More Days (0:17) -- Countdown 2 More Days (0:17) -- Countdown 1 More Day (0:17) in anamorphic 2.35:1, anamorphic 1.85:1, and anamorphic windowboxed 1.33:1, in Japanese Dolby Digital 2.0 - Soundtrack Promo (3:08) Film clips with soundtrack music. in non-anamorphic 1.85:1, in Dolby Digital 2.0 Easter Egg: "Madame Ranko's Photo Gallery" Madame Ranko the hotel owner gets a photo gallery to herself, showcasing her beautiful days of years past. To access: - On DISC TWO, highlight "Making of Ankokugai no Yojimbo", press left to highlight a small building, press enter. Mitani puts a lot of content into the Blu-ray and DVD extras, though the interviews are very shallow without depth and the stage greetings could have been compressed into one featurette rather. These are similar complaints to the previous DVD of Mitani films released in Japan. With the amount of work and time put into the making ofs, it’s a shame that none of these extras are available in countries outside of Japan.
Packaging
Mitani also puts a lot of care into the packaging designs of his home video releases, and although the DVD special edition of “The Magic Hour” was released in a fashionable digipack case, the Blu-ray just comes in a standard Blu case. No booklet, no inner artwork, nothing fancy here. Considering this was released in 2008 when Blu-rays were still in its infancy, maybe digipack designs in the Blu-ray size were not available then?
Overall
“The Magic Hour” is an homage to films of the past - the screwball comedy aspect, the art direction, the practical special effects, and filmmaking techniques shown within the film. Director Mitani’s first film “Welcome Back, Mr. McDonald” was a love letter to the art of radio shows, while this is one to the art of movie magic. Pony Canyon’s Blu-ray gives stellar audio and video, with lengthy special features including two commentaries. Non-Japanese speakers will be put off with the fact that the extras have no English subtitles, but at least the main film includes them. Absolutely one of Mitani’s best and technically ambitious. Highly recommended.
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