I saw the movie “Ningen Pump” in Tabata [Ichiro Enoki’s movie Akasatana Vol.12]

Do you know about the mini theater called Cinema Chupki Tabata? It is literally a ``mini'' theater with a seating capacity of 20 and is a 5-minute walk from Tabata Station. ``Chupuki'' is an Ainu word that means natural light. The "Tabata" part of the name is Tabata, but when "Cinema Chupki Tabata" comes together, it seems like a mysterious spell. Sounds like ``Machu'', ``Puki'', and ``Taba'' bounce inside the mouth. I feel like when I was young, I used to play with making these kinds of sounds.

Located on Shimonakadori Station, next to Gyomu Supermarket. The exterior doesn't look like a movie theater at all. When I couldn't travel here due to the coronavirus pandemic, I thought, ``It's too bad that I won't be able to meet new people or places because of something like this,'' so I searched for interesting things to do in Tokyo (or rather, the east side of Tokyo) and ended up here. It's a movie theater. The company aims to be a ``universal theater'' (a movie theater that is accessible to all), and they take great care in screening movies so that they can be enjoyed by the visually impaired and the hearing impaired, as well as wheelchair-accessible spaces. . Instead, the company has a policy of not offering so-called "discounts for people with disabilities."

The movies that take place are interesting. I'm a documentary fan, so I'm very interested in the lineup. Director Minao Kitamura's ``Fighthouse - Traveling Entertainers, Human Pump Troupe'' (1997), which we will be focusing on this time, was produced 25 years ago, but it was released in conjunction with the release of Kitamura's new work `` Chironnupu Kamui Iomante '' (21). I was able to hang it. It's a ``master documentary'' with established reputations, so it's not like there aren't any screenings, but it's not that easy to see. I'm extremely grateful. This time, on the first day of screening, there was also a stage greeting from director Kitamura. Cinema Chupki Tabata calls the director. The lobby is filled with Signs from the director. The 20-seat "mini theater" allows you to watch the director up close (of course, if you're brave enough, you can even talk to him!). It's a theater filled with so much individuality and charm that the movie experience at a multiplex complex seems like a poor experience.

I was fascinated by ``The Spectacle House: The Traveling Entertainers and the Human Pump Troupe''. Director Minao Kitamura takes a ``visual folklore'' approach, which means he places emphasis on documentary quality. The movie begins with the funeral scene for Satomi Yasuda of Yasuda Kogyosha. The corpse of an old man in a coffin with cotton stuffed up his nose is the star of a ``Human Pump'' traveling entertainer and spectacle troupe. Haruko Yasuda, who lost her husband and the head of the troupe, talks about her grief, the couple's friendship, and the history of the troupe.

The video goes back in time and shows the Chichibu Night Festival when Satomi Yasuda was still alive and well. The film is basically a documentary film of this night festival. Spectacular performances are held at festivals, fairs, and entertainment venues throughout the region. You can see the building being brought in by truck and being set up. You can also see how street vendors choose their locations and how profits are divided with the local ``bukata'' who hold the rights to perform. As the hut is being assembled, the introduction of the nine members of the troupe begins. I was simply drawn to the members of this troupe.

"Fighthouse - Traveling Entertainer/Human Pump Troupe" (c)Visual Folklore Inc.

The troupe is aging. They're all old men and women who can't be crushed. People who have nowhere else to go are picked up and join the troupe. A female ``octopus girl'' who left Fukushima for a group job, escaped the poor labor at a textile factory, and worked as a lumpen for about two years. Her body was dirty and black, and her body smelled, so I gave her a bath and found her face to be surprisingly clean. My impression is that she is an old lady who always seems absent-minded. He started performing spectacles when he was over 40, but apparently he had a habit of disappearing suddenly, even if nothing had happened. She repeats the process of disappearing, returning, disappearing, and returning like a cat, and now she is an old woman. However, she continues to wear a wig and make-up as an ``octopus girl.''

For those who don't know about the "human pump" trick, it is a trick that involves swallowing something like a razor blade or a goldfish all at once and then expelling it from the stomach, which is neither a magic trick nor a physical skill. For example, a person swallows four razor blades one after another, stacks the four in their stomach, and then puts them out all at once. If you do it properly, you'll end up with lots of scars not only on your throat, but also on your esophagus and stomach. The climax is an act of drinking gasoline and breathing fire, but even considering the KyoAni incident, gasoline igniting is extremely dangerous, so I don't think it's real ``gasoline.'' Satomi Yasuda takes to the stage wearing a long red T-shirt with the word "human pump" printed on the chest. The way he looks when he swallows, pats his stomach, and spits out is charming, and I can't help but think that this guy would have been popular with women when he was younger. If I see a long ``Ningen Pump'' T-shirt on sale at a store, I'll definitely buy it.

I also fell in love with Haruko Yasuda's thangka. I have no choice but to see it in person, but it is a wonderful thing, arousing the curiosity, sympathy, discrimination, and sadistic feelings of the excited festival guests, and making them hurry to the entrance of the hut. The word "Hora Hora" when used to attract someone's attention has such an attractive force.

"Hello, please hurry, please hurry, please hurry. Uso or Makoto, please come forward and take a closer look. What kind of spectacle was this?"

After the Yasuda troupe finishes performing at the Chichibu Night Festival, they dismantle the hut and leave in a truck. After watching it, it feels like a dream. It leaves a lasting impression. I'm glad I went to Cinema Chupki Tabata.

Text: Ichiro Enoki

Born in 1959. Born in Akita Prefecture. Debuted in a commercial magazine with ``Takarajima'' in 1980 while studying at Chuo University. Since then, he has serialized columns and essays in various magazines, and continues to this day. Also active on radio and television. Twitter @ichiroenokido 

Reserve “Spectacle House: Traveling Entertainer/Human Pump Troupe” now ↓

"Show Showhouse - Traveling Entertainer/Ningen Pump Troupe"

Screening at Cinema Chupki Tabata until October 15th (Saturday)

Distribution: Visual Folklore

(c)Visual Folklore Inc.