Ushio Shinohara was a leading light in the avant garde art scene in post war Japan who in 1969 headed out to New York in 1969 to seek his (international) fame and fortune. He quickly established himself in the burgeoning artist colony in Sotho for both his art and his limitless capacity to drink. Three years later, 19 year old Noriko left Japan to come to New York to study, and was instantly smitten with Ushio and his work. So much so, to her the chagrin of her wealthy family back in Tokyo, she abandoned her studies and married this eccentric middle-aged alcoholic artist, and within a year she gave birth to their son Alex.
This totally mesmerizing documentary from first time director Zachary Heinzerling chronicles the 40-year-old chaotic and roller coaster marriage of these two artists, in which we witness recent developments as finally this relationship becomes a little less lopsided. Ushio was unquestionably both an artistic genius, but also a chauvinistic bully who through a combination of his binge drinking and his domineering overbearing manner ensured that Noriko spent the first half of their marriage suppressing any of her own artistic ambitions in order to raise their son and keep food on the table.
The film opens with Ushio’s 80th Birthday and on the eve of a One Man Show he has coming up in a prestigious Soho Gallery. The couple are once again completely broke, but it is Noriko who has to worry about how they are going to pay the rent of their Brooklyn Studio, whilst Ushio just immerses himself in preparing pieces for the exhibition. His art is two fold. He makes elaborate and somewhat unwieldy sculptures of motorbikes out of a variety of scrap materials, and he also does these incredibly wonderful large-scale paintings by punching a canvass using boxing gloves to which he attaches pads full of paint.
The Show is not a success as nothing sells, but soon after that he is approached to do another show at different gallery, and when owner comes by to check out Ushio’s latest work, Noriko insists on showing hers to him too. She has recently started painting again and has created a whole series/story of graphic pieces, which are based on her life with Ushio and entitled ‘Cutie and The Boxer’. The Galleristloves the work, and offers Noriko half of the Show to exhibit it
Suddenly the dynamics of
the relationship start to shift, and even though Noriko has always been a generous supporter of her husband’s work (and often acts his dog body much abused assistant) he cannot return the compliment on his wife’s work. The most remarkable thing about the ‘Cutie’ series although it chronicles aspects of her difficult and challenging past with Ushio and is about asserting female power, it is actually filled with genuine love and affection. It’s a reflection on how this remarkable woman describes her relationship with Ushio, as despite all the sacrifices she was forced to make and all of the disappointments he made her endure, and all of his annoying ways, she still loves him unequivocally,
the relationship start to shift, and even though Noriko has always been a generous supporter of her husband’s work (and often acts his dog body much abused assistant) he cannot return the compliment on his wife’s work. The most remarkable thing about the ‘Cutie’ series although it chronicles aspects of her difficult and challenging past with Ushio and is about asserting female power, it is actually filled with genuine love and affection. It’s a reflection on how this remarkable woman describes her relationship with Ushio, as despite all the sacrifices she was forced to make and all of the disappointments he made her endure, and all of his annoying ways, she still loves him unequivocally,
It’s a joyous wee film about a couple of enchanting unique people who have somehow, after a turbulent four decades, and a son who seems to have taken over from his now sober father, come through and with such joy. By the end of the journey we get to celebrate the emergence of Noriko as both an artist and a person in her own right as she starts to (unintentionally) steal both the Show and our hearts too.
P.S. There is a glorious funny scene in the movie when Ushio’s Dealer had brought a Guggenheim Curator to the studio with the idea of buying a piece of work for the Museum. It’s a very comic reminder of what pretentious claptrap some people somehow feel the need to espouse about work they obviously think they should like. After all the bullshit, they never bought a piece.
P.P.S. I had the pleasure of seeing this movie at Sundance where it had its premiere (it went on to be nominated for an Oscar). What I missed however was another later screening which a Q&A with Ushiro and Noriko followed. Evidently the biggest laugh came when Ushiro was made to acknowledge that just this once at least, Noriko was the real star.
