29 November 2011

Coffee Break (コーヒー・ブレイク, 1977)




Coffee falls into the stomach … ideas begin to move, things remembered arrive at full gallop … the shafts of wit start up like sharp-shooters, similes arise, the paper is covered with ink …
-          Honoré de Balzac (オノレ・ド・バルザック, 1799-1850)

Mornings are the most productive time for me.  I usually wake with a fresh perspective on whatever project I am working on and as soon as the kids are off to school, I begin to write.  By mid-morning; however, my brain clouds over and things that seemed so clear when I first woke jumble together and lose focus.  The remedy to this situation is coffee.  Coffee has the remarkable ability to bring order to the chaos of the mind, and to stimulate the imagination when one’s imagination is ready to curl up and take a catnap.

Taku Furukawa encapsulates the ability of coffee to inspire a weary mind in his 1977 animated short Coffee Break (コーヒー・ブレイク).  In the film, a man sits working busily away at his desk – typing into his typewriter, comically scratching his behind, talking on the phone, having a smoke, leafing through a book.  It is a minimalistic line drawing scene with just the man and his desk and door drawn in thin black lines on white paper.  The man - likely a caricature of the animator himself - then makes himself a cup of coffee and as the cup approaches his mouth we hear the sound of a countdown to a rocket launch.  As the coffee pours into the man’s mouth, the screen explodes into a colourful multi-layered image of food floating in the air like debris in outer space.  The floating objects transform from food into animals, then into vehicles, buildings, and people until the sound of the rocket ship is replaced by the wail of an electronic guitar that brings home the nirvana of the experience of drinking a good cuppa Java.

In just three short minutes, Coffee Break demonstrates all the qualities that make Furukawa such a genius of his craft: his ability to transform a simple concept into a thought-provoking work of art, his playful nature, and his limitless imagination.  Earlier this year, in celebration of Furukawa’s 70th birthday, two of his former students, Tomoyoshi Joko and Hiroco Ichinose, created an homage to Coffee Break entitled Coffee Tadaiku (コーヒータダイク, 2011).  The newly married animation team of Joko and Ichinose studied animation under Furukawa at Tokyo Polytechnic University and work under the name Decovocal – a name that was suggested to them by Furukawa (see JMAF 2010 Symposia Report). 


Joko and Ichinose emulate Furukawa in their use of simple line drawing animation to create highly imaginative works.  Coffee Tadaiku mimics the original Coffee Break right down to the style of the opening credits.  “Tadaiku” refers to Furukawa’s given name Furukawa Tadaiku 古川肇郁 – a name which only appears in the credits of his mentor Yoji Kuri’s films.  When the international version of Kuri's Au Fou! (殺人狂時代) was released in 1967, Furukawa’s given name was shortened to just one kanji 古川肇 in the credits and by the time he left Kuri’s studio he had adopted his katakana nickname  古川タクas his official nom de plume.

In this updated version of Coffee Break, Furukawa is depicted typing away at a computer instead of a typewriter – but he still pauses comically to scratch his bottom.  Joko and Ichinose then depict a series of images that they associate with their sensei: a bespectacled Furukawa working with a pencil on an animation table, Furukawa as a baseball fan enthusiastically watching the game on a tablet computer, filing his nails at his desk, watching one of his wind-up toys on the floor (Furukawa is a collector of White Knob wind-up toys), and so on.  Instead of a closed door, Coffee Tadaiku features an open door to a staircase with a small dog quietly sitting in front of it.  When the caricature of Furukawa drinks the coffee, the scene explodes into a sky full of floating objects associated with celebration: cake / champagne / red snapper / onigiri / flowers.  The electric guitar comes in much sooner in this tribute to the animation master ushering in an image of Furukawa drinking coffee as the numbers 7 and 0 float around him followed by Happy Birthday wishes.  


A brilliant tribute for a brilliant animator. 

Watch it for yourself on Youtube.

Coffee Break appears on Takun Films (1998) which can be ordered from Anido.
Catherine Munroe Hotes 2011



22 November 2011

The Kawamoto + Okamoto Puppet Anime-Shows (1972-1980), Part II





I remember that once in an English Literature class we were asked: “If you could travel back in time to be in the audience for any performance in history, what would you like to see?”  My answer at the time was to see Fred and Adele Astaire dance on Broadway.  Today, I think my answer would be to attend the Kawamoto + Okamoto Puppet Anime-Shows. 

The first Kawamoto + Okamoto Puppet Anime-Show (川本+ 岡本パペットアニメーショウ) was in October 1972, one year after Tadanari Okamoto had held a retrospective of his own work.  As mentioned in Part I, Okamoto had been the one to suggest a joint event with his friend Kihachiro Kawamoto.  Even with the work of two animators, they still did not have enough to fill a programme, so Kawamoto came up with the idea of including live puppet theatre.   Many of the live puppet performances were written and directed by Kawamoto himself. 


The events allowed not only these two acknowledged masters of puppet animation to shine, but also gave the staff who worked for them an opportunity to show off their own individual talents.  At the fourth show in 1975, for example, Hirokazu Minegishi presented his own short film The Daughter of Osaka (Ōsaka no ojyōsan).  Minegishi worked for both Okamoto and Kurosawa throughout the 1970s and 1980s, and now does puppet animation under director Tsuneo Goda for Dwarf (Domo-kun, Komaneko, etc.)

According to Kihachiro Kawamoto: Animation and Puppet Master (Kadakawa Shoten, 1994), these are  the animation screening programmes for the Anime-Shows (KK=Kawamoto, TO=Okamoto):


1st Kawamoto + Okamoto Puppet Anime-Show (October 1972)



The Demon (KK)
Chikotan (TO)
The Monkey and the Crab (TO)
The Mochi-Mochi Tree (TO)

2nd Kawamoto + Okamoto Puppet Anime-Show (October 1973)



Tabi (KK)
The Travelling Companion (TO)
Praise Be to Small Ills (TO)
Bach Omnibus (Hiromi Wakasa, Yoko Higashikawa, Hiroshi Jinsenji)

3rd Kawamoto + Okamoto Puppet Anime-Show (October 1974)



Sheep Song (Hitsuji no Uta, Hiromi Wakasa)
All You Need Is Love (Ai koso subete, Satoru Yoshida)
Get off (Noboru Shinogi)
A Poet’s Life (KK)
December Song (TO)
Five Small Stories (TO)  

4th Kawamoto + Okamoto Puppet Anime-Show (October 1975)



Stripe (Hiromi Wakasa)
The Daughter of Osaka (Ōsaka no ojyōsan, Hirokazu Minegishi)
Three Stories (Mitsu no Hanashi, Kimura Hiroshi/Tamotsu Shiihara/Tadakazu Takahashi)
Hana-Ori (KK)
Urameshi Denwa (TO)
The Water Seed (TO)

5th Kawamoto + Okamoto Puppet Anime-Show (October 1976)



From Cherry Blossom With Love (TO)
The Strong Bridge (TO)
Dojoji Temple (KK)
Are wa dare? (TO)

Reprise Screening Event (October 1979)



The Strong Bridge (TO)
The Ningen Ijime Series (TO)
Dojoji Temple (KK)
Are wa Dare? (TO)
Chikotan (TO)

6th Kawamoto + Okamoto Puppet Anime-Show (October 1980)




TV Commercials (TO)
The Strong Bridge (TO)
Ningen Ijime Series Part 4: Oshizuka ni (TO)
Panache the Squirrel (TO)
House of Flames (KK)
Towards the Rainbow (TO)
Catherine Munroe Hotes 2011

Source: Kihachiro Kawamoto: Animation and Puppet Master (Kadakawa Shoten, 1994)

See these Films for Yourself:


The Kawamoto + Okamoto Puppet Anime-Shows (1972-1980), Part I



Ever since reading about Tadanari Okamoto and Kihachiro Kawamoto’s joint Puppet Anime-Shows (川本+ 岡本パペットアニメーショウ) on Anipages, I have wanted to learn more about them.  Had the two Japanese masters of puppet animation met working on puppets for stop motion pioneer Tadahito Mochinaga’s MOM Productions – the studio that famously did the puppet animation for Rankin/Bass’s beloved children’s classics like Rudolph the Red-Nosed Reindeer (1964) – or had they met earlier?  How did the idea for the Puppet Anime-Shows develop?  What was screened at the events?

According to Kawamoto's account in Kihachiro Kawamoto: Animation and Puppet Master (Kadakawa Shoten, 1994), Kawamoto and Okamoto met for the first time at the farewell party Mochinaga hosted for Kawamoto when he departed for Prague to study under Jiri Trnka in 1962.  Okamoto’s enthusiasm for the future of puppet animation in Japan made quite an impression on Kawamoto and became the basis for their friendship.

Shortly after Kawamoto’s return to Japan, Okamoto quit MOM Productions and founded his own animation studio in 1964 which he named Echo Productions.  Okamoto’s first independent film A Wonderful Medicine (ふしぎなくすり, 1965) impressed Kawamoto with its fresh style and subject matter.  However, from the very beginning it was clear that the two men had very different approaches to puppet animation.  Okamoto was able to produce many more films than Kawamoto because he took advantage of the need for educational films for schools.  This meant that Okamoto had a steady source of income for producing animated puppet films and employed a studio system of animating.  He employed a team of talented artists including Sumiko Hosaka, Fumiko Magari, and Hirokazu Minegishi to assist with the construction of puppets and assisting with the animation.   

In contrast, Kawamoto worked as an independent artist in the 1970, making the dolls himself, making their costumes, constructing the sets, and doing the animation with very little money for staff to assist him.  Much of Kawamoto’s work was funded by making puppets for NHK’s children’s programming such as Okaasan to Issho (1966), Cinderella (1973), and Yan Yan Mū-kun (1973-75). 


In the early days of their independent work, Kawamoto and Okamoto began to spent a lot of their free time together, not only to talk about their work but also going on ski trips and other excursions together.  It was on one such outing that Okamoto, who had already hosted a solo show of his own work, suggested putting together a joint puppet animation show.

In hosting their Puppet Anime-Shows, Okamoto and Kawamoto faced two major obstacles: finding enough material to screen and funding the event.  Because puppet animation is a time consuming process, Kawamoto could only complete a new work every couple of years.  Even Okamoto, with his larger staff, could only produce two to four short films a year.  With only a handful of new works, they needed something to fill out the programme to make it a proper event.  Kawamoto came up with the idea of including live puppet theatre performances.   Not only would this lengthen the programme, but live shows could also incorporate the humorous aspects of puppet performances.    


Hosting these Puppet Anime-Shows in addition to their usual puppet animation production schedules was hard going for Kawamoto, Okamoto, and their staff.  The positive reaction of the audience to the screenings and performances outweighed any hardships that they experienced and made it all worthwhile for them.  Kawamoto has said that if it were not for Okamoto and the Puppet Anime-Shows his work would never have amounted to much.  The period during which they held the Puppet Anime-Shows was the time that Kawamoto felt that he truly became an artist.  Ten years after the curtain closed on the final Puppet-Anime Show, Kawamoto was able to pay a final tribute to his friend and puppet show collaborator by completing The Restaurant of Many Orders (注文の多い料理店, 1991), the film that Okamoto left unfinished when he died suddenly of liver cancer at the age of 62.   

Catherine Munroe Hotes 2011

What puppet films were screened at the Puppet Anime-Shows?  Read Part II to find out.

To learn more read: 


AVAILABLE ON DVD: