Film Name: 百日红 / Miss Hokusai / さるすべり
The long-awaited “Miss Hokusai,” depicting the atmosphere of Japan’s Edo period, did not disappoint. Centered on the lives of Katsushika Hokusai, a representative painter of Japanese ukiyo-e, and his daughter, the film reflects various aspects of Japanese society during the late Edo shogunate. The architecture lining the streets and alleys, the scenery around Ryogoku Bridge, the diverse lives of workers including cowherds and courtesans—even the weather shifts through multiple phases, with cloud formations differing in nearly every scene. This allows viewers to appreciate both the grand sweep of the era and the delicate nuances of human relationships.
The film’s first formal narrative segment—a dialogue between Katsushika Hokusai’s daughter, O-E, and her mother living apart—contains a flower metaphor that encapsulates the theme. “The crape myrtle blooms with such fervor, only to wither so readily,” O-E remarks upon seeing the flowers in her family’s garden, thus unveiling the film’s core exploration of human and natural existence. Her sister Ayu, though blind, becomes the film’s brightest light. Ayu arrives during the crepe myrtle’s peak bloom, and departs just as the last petals fall. It is precisely through these family members—who joyfully wither yet once bloomed fiercely—that Ae can create her own ukiyo-e masterpiece by the film’s end.
I particularly cherish the scene where A-rong and A-you stand on the Nihonbashi Bridge. A-you listens quietly to the sounds of northbound and southbound traffic, inhales the myriad scents of the world, and joyfully embraces existence. It feels as though we too are standing on the bridge, sharing her experience.
A-rong embodies both masculine stubbornness and feminine grace, making her a richly layered character. Living long with her father, she inevitably carries a touch of boyishness, yet before her sister, she reveals a tender, caring side. She loved watching the fiery flames dance wildly, just as she admired the vibrant life of the crape myrtle. She was willing to try anything, never backing down, even going so far as to personally experience the scene depicted in an erotic painting to capture it accurately. This rich personality ultimately shaped her distinctive style, blending both brilliance and delicacy.
The film primarily depicts four painting-related storylines: painting dragons, painting courtesans, painting hellscapes, and painting erotic art. Interspersed with these are portrayals of Ah Rong’s emotional journey, sisterly bonds, and father-daughter affection, creating a richly layered and well-structured narrative. While recreating Katsushika Hokusai’s ukiyo-e masterpieces like “The Great Wave off Kanagawa” and “Hundred Views of Mount Fuji,” it emphasizes the artisan spirit of the painter. Painting dragons requires capturing fleeting inspiration, while depicting hellscapes demands philosophical wisdom. Each painting carries traces of Buddhism and Shintoism, blending elements of reality with illusions. This allows viewers to resonate spiritually while appreciating the artwork, showcasing the unique expressive power of animation.
The romantic journey between Utagawa Kuniyoshi and A-Rong, along with the playful resemblance between Katsushika Hokusai’s apprentice Zenjirō and a puppy-like creature, add delightful humor to the film, eliciting knowing smiles.
The portrayal of Katsushika Hokusai is particularly contradictory yet harmonious. On one hand, he is a master painter with unparalleled depth and breadth in his creations; on the other, he is a man of low emotional intelligence. His intense obsession with painting causes him to neglect his family and makes him incapable of expressing his love. Yet it is precisely this contradictory nature that makes Hokusai all the more endearing to audiences, far more compelling than a flawless, idealized figure. This is especially evident in the simple yet heartfelt dialogue and poignant scene when he finally confronts his ailing daughter Ayu, a moment that deeply moves viewers. After Ayu’s passing, his words while gazing at the withered camellia—a symbol of her presence—”Perhaps I took both that child’s eyes and her life”—convey the film’s heaviest emotional weight. Fatherly love and self-reproach are both encapsulated within.
The film features an intriguing innovation in hair styling: many strands appear detached from the scalp, forming independent lines that seem vibrantly alive. In contrast, the film’s musical choices may be more open to criticism, with some modern compositions feeling incongruous with the rustic atmosphere. That said, this is a matter of personal taste.
The final shot returns to the present day, evoking a profound sense of time’s relentless passage and leaving viewers with a lingering sentiment of remembrance. These masters, these artists, these lives that once bloomed—they flow through the Edo River like its ever-changing waters, passed down through generations. Do we, in this present age, still possess the spirit of the crape myrtle—that willingness to wither gladly and bloom with all our might?
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