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Football is dangerous. That won’t change unless fans insist on it.

My sons have just started to love football.

We play in our living room. The couch is the endzone. I loft the ball so it doesn’t hit the ceiling, all three of us watching as it floats down to their small, outstretched hands.

Touchdown.

Touchdown.

Touchdown.

I put the Bears on and they scrunch next to me. They say “Are we doing good?” I say, “No” (usually). They’re still learning. I say: “That’s the quarterback. That’s the running back.” They say: “That’s the tackling back.”

They say: “Do we look like them when we jump?”

Last Monday night, Buffalo played Cincinnati and Damar Hamlin’s heart stopped after he made a tackle. He stood up. He stepped toward his teammates. Then he fell, his body toppling over like a toddler who has fallen asleep standing.

The first person to notice was an opponent, who pointed to the body on the ground. Medics reached him there, on his back at the 48-yard line. For nine minutes, they performed CPR on his unconscious body. They breathed air into his lungs. They shocked his chest to restart his heart.

Hamlin’s mother was there, in the stadium. Hamlin hugged her before the game. She would have seen his body crumple. She would have seen her son laying on the ground.

Players from both sides formed a circle, many crying or kneeling in prayer, to protect him: from harm and from the view of everyone who’d paid to watch his body move. From us.

What happened to Hamlin is not normal. But football players getting hurt is.

A month ago, on the same field, Miami quarterback Tua Tagovailoa took a hit to the head so hard his unconscious fingers splayed in the fencing position, a reflex of newborns.

There have been seven professional football games in Cincinnati this year. During two, ambulances have carried men from the field to the University of Cincinnati Hospital. It’s the same hospital where, five years ago, Ryan Shazier was taken from a game, paralyzed after a hit. It is possible someone who works there could have seen all three of those stretchers come in. What would that person think about football?

My sons did not see it. But they will. If they watch football, they will see bodies breaking. They will see people getting hurt.

Many are angry at league bosses, who may have tried to restart play after the injury. The feel-good story is coaches and players coming together to say: Not tonight.

The other feel-good story is Hamlin’s GoFundMe: A toy drive he organized two years ago with a goal of $2,500, a number so precious it reminds you he is — like almost every NFL player — very young, not famous and not rich. Now it has raised over $7 million.

Those stories do feel good. But then what? How will that next play be different from the last one? How will the game affect the bodies of the next players differently than the last ones?

I am mad at NFL bosses — for this, for their racist collusion against Colin Kaepernick, for their callous reaction, over and over, to violence against women by men.

But football is us, the fans. It’s our money, every dollar, that makes the owners rich. It is us that puts these men on the field, that asks them to make their bodies bigger, to hit each other harder. What we give to Hamlin’s charity does not pay down our debt.

If there is going to be a change, we have to make it. If the game does not change, we have to stop watching. I love football, but we cannot take this game with us unless it becomes different.

Damar Hamlin is 24 years old and he is alive. For three days he was unconscious, in a hospital bed, with a tube in his throat bringing oxygen into his body. Now he’s awake. I hope he’s okay.

The last thing he knows is 2nd down at Cincinnati’s 39-yard line. Hamlin’s position is safety. His job is to bring down the man coming toward him. He’s the tackling back. And he did it. The last thing he did is make the play.

My sons don’t know all this, but they see me on my phone.

“Are you watching football?” they ask, coming over to watch with me.

“Are we doing good?”

Seth Lavin is the principal at Brentano Elementary Math & Science Academy in Logan Square.

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Blackhawks’ Seth Jones has no disillusions about NHL All-Star selection

What does Blackhawks defenseman Seth Jones think about the NHL rule requiring one player from every team to participate in the All-Star Game?

“That’s probably why I got nominated this year,” he responded.

Indeed, Jones has no disillusions about why he’s headed to Ft. Lauderdale, Florida, on Feb. 3-4 for his fifth career All-Star appearance. It’s simply because someone from the last-place Hawks had to go.

But for the record, he does understand the logic behind the rule, even if it does lead to many deserving players not receiving invites.

“Before this rule happened, the whole starting lineup was Hawks, including [Corey] Crawford in net, for the West [in 2015],” Jones said. “So you could have situations still like that. Say Colorado, you could easily have [Mikko] Rantanen, [Nathan] MacKinnon and [Cale] Makar. It depends. Some guys are going to get the short end of the stick every year.”

Jones will join Makar, Jets defenseman Josh Morrissey, Stars forward Jason Robertson, Wild forward Kirill Kaprizov, Coyotes forward Clayton Keller, Blues forward Vladimir Tarasenko and Predators goalie Juuse Saros on this year’s Central Division All-Star team, announced Thursday.

Three additional players in each division will be determined by fan vote in the coming weeks — but inevitably, there will be some snubs.

Predators defenseman Roman Josi is objectively more deserving than Jones, for example, but Saros’ selection excluded him. Oilers forward Leon Draisaitl has almost twice as many points as Ducks All-Star forward Troy Terry (60 vs. 32), but Connor McDavid was obviously chosen over him.

On the other hand, the NHL’s diverse selection process ensures all fans headed to the All-Star weekend festivities — hosted by the Panthers this winter — have someone to root for. There are pros and cons.

“It’s always a fun time,” Jones said. “You play three-on-three hockey in front of a good crowd and showcase your skill.”

Jones hinted he would’ve had more fun if his vacation during the preceding week — the Hawks’ bye week — hadn’t been “cut short” by his sudden commitments in Florida, but he will be a good sport about it.

He won’t use this hollow selection to hype himself up, though. He remained as self-critical as usual when evaluating on Friday his season so far.

“It has been up and down,” he said. “Offensively, I don’t like the numbers I have. And then it has been a struggle defensively, as a team in general, keeping the puck out of our net. … We haven’t gotten a lot of ‘O’-zone time this year as a team, so [I’m focusing on] just taking advantage of when I do have that time.”

Hawks coach Luke Richardson has noticed Jones’ attitude.

“He’s probably disappointed more than anybody,” Richardson said. “I talked to him [Thursday] and just said, ‘Hey, it’s looking up. You scored last game.'”

Jones entered Friday ranked 13th among NHL defensemen in ice time, averaging 24:41 per game, but his results have been poor. Not only does he rank 85th in points per minute but his 41.1% scoring-chance ratio (at five-on-five) ranks 172nd out of 185 defensemen total.

That’s much more of a Hawks problem than a Jones problem — just like his All-Star selection was much more because of his teammates’ mediocrity than his excellence. But both are realities nonetheless.

“He’s such a good skater that he can join a rush later on [rather] than early on,” Richardson said. “[But] then we turn the puck over, and he’s scrambling back and now he’s tired. If he does that for 27 minutes…that’s a lot. That affects his game. We just want to bring him back.

“He can’t be the savior for everybody on this team. He’s just got to play his position, play it well, and we’ve got to do our job around him.”

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Bears RB David Montgomery shares interesting Instagram caption ahead of possible final game

Is this David Montgomery’s final game with the Chicago Bears?

The Chicago Bears will have a decision to make on running back David Montgomery in terms of bringing him back on a new deal or letting him go in free agency.

Montgomery is in the final year of his rookie deal and could hit free agency this offseason. The former Iowa State running back has spent the past four seasons in Chicago but it appears as if that’s going to change.

On Friday ahead of the Week 18 finale against Minnesota, Montgomery had an interesting caption on his Instagram post potentially hinting that this is indeed his last game with the team:

Now, this very well could be it’s the last ride for the 2022 season. But with the Bears also having Khalil Herbert, drafting Trestan Ebner and signing Darrynton Evans, their plan could be clear.

Montgomery has racked up 3,588 rushing yards and 26 touchdowns while averaging 4.0 yards per attempt in his career. He has been hit with some injuries but overall has been a reliable back for the Bears.

Will Bears opt to re-sign David Montgomery?

The problem Ryan Poles faces is if he should pay a running back a second contract or not. Montgomery’s projected value is at $7.2M per year on a three-year deal per Spotrac. The Bears have a lot of cap to work with next year but Montgomery also isn’t a player this regime brought in.

I guess time will tell if this is the last ride for the running back in Chicago.

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Bears QB Justin Fields ‘wants this to be his franchise’ — but he’ll sit Sunday

Bears quarterback Justin Fields wants to be great.

“He wants this to be his franchise — he wants this to be his city,” quarterbacks coach Andrew Janocko said. “Just the way he works. Spend five minutes with the kid, and you know that he’s a dude. He’s a dog. He’s an alpha. You spend a little bit of time with him and you know. This guy, he wants to be it.”

Sunday, though, he won’t be the face of the franchise. He’ll be just like everyone else in a half-filled Soldier Field: sitting and watching one-time third-stringer Nathan Peterman play quarterback in the season finale against the Vikings.

The reason: the Bears’ roster and offense has failed so spectacularly this season to render playing Fields — the most popular, thrilling quarterback the Bears have had in two generations, if not longer — counterproductive.

The 3-13 Bears are incentivized to lose Sunday; if they do and the 2-13-1 Texans beat the Colts, the Bears will be awarded to the No. 1 overall pick in this year’s draft. The Bears have never had a 14-loss team — and haven’t picked first overall since 1947.

If they lose and the Colts win, the Bears will draft second. If the Bears win, they’ll draft no lower than fourth.

Fields was ruled out Wednesday with what the Bears called a hip injury. The Bears say team doctors wouldn’t have cleared him even if a playoff game awaited him Sunday, a claim that’s almost impossible to believe, given the difference in stakes.

Janocko said that Fields was “peeved” to be held out.

“Dude wants to play,” he said. “He’s a competitor.”

He won’t, though, because it doesn’t help the Bears.

“He’ll get something out of this performance by watching the other guys,” head coach Matt Eberflus said, unconvincingly.

Part of the Bears’ failure this season was by design, of course. They’re paying $93.2 million in dead cap money — to account for players no longer on the roster — and $30.6 million to players on injured reserve. Sunday’s active roster will cost $78.8 million, or about 37.5 percent of their total payroll. Only two players who play Sunday — guard Cody Whitehair and defensive lineman Justin Jones — have a cap hit of more than $4.5 million this season.

With a questionable roster, the Bears’ production plummeted after Thanksgiving.

In the last five weeks, only three teams have scored fewer points than the Bears’ 62 — less than half their total of 125 points in the five weeks before that. During the last five weeks, only the aforementioned Colts have a larger point differential than the Bears’ -67.

In Sunday’s 41-10 loss to the Lions, the Bears averaged 1.07 yards per pass, the worst mark of any NFL team this season. It was the fifth-worst average of the last five years — behind, among other games, Fields’ own 0.03 in the infamous 2021 loss to the Browns.

It was a mess.

“[Fields] and I talked in the locker room after [the Lions game],” Janocko said. “When we’re sitting in the locker room next year, we know what we want that game to be about next year and where we want to be when that game happens next year, and what we gotta do to get there. And also how we prevent something like that from happening again.

“So when we are in a scenario, that game is different next year. Then we’ll be ready to go for that, and answer the challenge.”

In the meantime, though, Fields has to watch.

The rest of us can turn away.

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Bears notebook: Nathan Peterman ready for his close-up

The Bears have little to play for in their season finale against the Vikings on Sunday at Soldier. But it means something to Nathan Peterman.

The veteran backup quarterback will start in place of Justin Fields, who is out with a hip strain. It will be Peterman’s first NFL start since 2018 with the Bills — a 41-9 loss to the Bears in place of injured starter Josh Allen. It will be his fifth start in six NFL seasons.

“It’s an awesome opportunity. It’s been awhile,” Peterman said. “It’s been a lot of hard work putting into this season and a lot of ups and downs, obviously. But to go out and play football is a good thing. [I’m] excited for it.”

Peterman, a fifth-round draft pick by the Bills in 2017, signed with the Bears in the offseason and has appeared in two games. He threw an incompletion on a third-and-14 play in the fourth quarter against the Eagles after Fields suffered leg cramps. He turned out the lights in relief of Fields in a 35-13 loss to the Bills, completing 3-of-5 passes for 25 yards and an interception.

Peterman is 1-3 in four starts with the Bills. He beat the Colts in 2017, but suffered an injury in the third quarter, with Joe Webb finishing a 13-7 overtime win.

“Nate’s ready to go,” Bears offensive coordinator Luke Getsy said. “Nate’s a pro. I’m excited for Nate to have some opportunities for himself.”

Remember the North

Peterman is the second player from the 2017 Senior Bowl North team coached by John Fox and his staff to be signed by the Bears. Guard Jordan Morgan, a fifth-round draft pick from Kutztown (Pa.) spent one year on injured reserve in 2017.

Another North team player, Charlotte defensive tackle Larry Ogunjobi, agreed to terms with the Bears in free agency but failed his physical and signed with the Steelers.

Notable players on that North team coached by the Bears’ staff include Eastern Washington wide receiver Cooper Krupp, Temple linebacker Haason Reddick, Toledo running back Kareem Hunt and Temple guard Dion Dawkins.

Bears thankful

Spirits were lifted at Halas Hall with news that Bills safety Damar Hamlin was making progress in his recovery from cardiac arrest he suffered against the Bengals on Monday Night Football.

“It’s great,” coach Matt Eberflus said. “It’s really the power of prayer. I think obviously the good news certainly lifts a heavy heart, when you that I’d positive. I got a text from Leslie Frazier [the Bills’ defensive coordinator], who’s a good friend of mine, [Friday] morning. It was great to hear from him. It was really good.”

Injury report

Rookie cornerback Kyler Gordon (groin) is questionable for Sunday’s game against the Vikings after being limited in practice Friday.

Cornerback Jaylon Jones (concussion) is out.

Defensive linemen Angelo Blackson (illness) and Terrell Lewis (personal) are questionable. Reserve linebacker Sterling Weatherford (illness) is out.

Previously, guards Teven Jenkins (neck) and Michael Schofield and cornerback Josh Blackwell (undisclosed) were put on injured reserve.

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High school basketball: Friday’s scores

Friday, January 6, 2023

BIG NORTHERN

Byron at Rock Falls, 7:00

Rockford Christian at Oregon, 7:30

Rockford Lutheran at North Boone, 7:00

CATHOLIC LEAGUE – BLUE

Leo at Loyola, 6:30

CENTRAL SUBURBAN – NORTH

Niles North at Vernon Hills, 7:00

CENTRAL SUBURBAN – SOUTH

Glenbrook North at Glenbrook South, 7:00

Maine South at Evanston, 3:00

Niles West at New Trier, 7:00

CHICAGO PREP

Christ the King at Holy Trinity, 7:00

DU KANE

Wheaton North at Geneva, 6:00

DU PAGE VALLEY

Naperville Central at DeKalb, 7:00

Naperville North at Metea Valley, 7:00

Waubonsie Valley at Neuqua Valley, 7:00

EAST SUBURBAN CATHOLIC

Benet at St. Patrick, 7:00

Joliet Catholic at Carmel, 7:00

Marist at Nazareth, 7:00

Notre Dame at St. Viator, 7:00

FOX VALLEY

Burlington Central at Cary-Grove, 7:30

ILLINOIS CENTRAL EIGHT

Herscher at Streator, 6:45

Lisle at Wilmington, 7:00

Manteno at Peotone, 7:00

Reed-Custer at Coal City, 6:45

INDEPENDENT SCHOOL

Francis Parker at Northridge, 6:00

University High at Morgan Park Academy, 4:30

INTERSTATE EIGHT

Morris at Plano, 7:00

Ottawa at LaSalle-Peru, 7:00

Sandwich at Rochelle, 7:00

Sycamore at Kaneland, 7:00

KISHWAUKEE RIVER

Johnsburg at Harvard, 7:0

LITTLE TEN

Hiawatha at DePue, 7:00

Indian Creek at Newark, 7:00

Leland at LaMoille, 5:30

Somonauk at Hinckley-Big Rock, 6:45

METRO SUBURBAN – BLUE

Chicago Christian at Timothy Christian, 7:30

IC Catholic at St. Francis, 6:45

METRO SUBURBAN – RED

Elmwood Park at St. Edward, 7:00

McNamara at Westmont, 7:30

Ridgewood at Aurora Central, 7:30

MID-SUBURBAN – EAST

Buffalo Grove at Wheeling, 6:00

Hersey at Prospect, 6:00

MID-SUBURBAN – WEST

Hoffman Estates at Barrington, 6:00

Palatine at Fremd, 6:00

Schaumburg at Conant, 6:00

NIC – 10

Freeport at Belvidere North, 7:30

Harlem at Jefferson, 7:15

Hononegah at Auburn, 7:30

Rockford East at Boylan, 7:15

NORTH SUBURBAN

Lake Zurich at Lake Forest, 7:00

Stevenson at Zion-Benton, 7:00

Waukegan at Warren, 7:00

NORTHEASTERN ATHLETIC

Harvest Christian at Our Lady Sacred Heart, 6:00

Alden-Hebron at Schaumburg Christian, 7:30

RIVER VALLEY

Donovan at Tri-Point, 7:00

Gardner-So. Wilmington at Beecher, 7:00

Grace Christian at Clifton Central, 7:00

Grant Park at Momence, 7:00

Illinois Lutheran at St. Anne, 7:00

SOUTH SUBURBAN – RED

Eisenhower at Oak Lawn, 6:30

Reavis at Richards, 1:30

SOUTHLAND

Bloom at Crete-Monee, 6:00

Kankakee at Thornwood, 6:30

Thornridge at Rich, 6:30

SOUTHWEST PRAIRIE – CROSSOVER

Minooka at Joliet West, 6:30

Oswego at Plainfield Central, 6:30

Oswego East at Romeoville, 6:30

Plainfield North at Plainfield East, 6:30

West Aurora at Plainfield South, 6:30

Yorkville at Joliet Central, 6:30

SOUTHWEST SUBURBAN – CROSSOVER

Bolingbrook at Andrew, 6:00

Homewood-Flossmoor at Bradley-Bourbonnais, 7:

Lockport at Stagg, 6:00

Sandburg at Lincoln-Way Central, 6:30

TRI-COUNTY

Henry-Senachwine at Dwight, 7:00

Roanoke-Benson at Marquette, 7:00

Seneca at Lowpoint-Washburn, 7:30

Woodland at Putnam County, 7:00

UPSTATE EIGHT

Glenbard East at Elgin, 7:00

Glenbard South at Streamwood, 7:00

Larkin at Bartlett, 7:00

South Elgin at East Aurora, 6:30

West Chicago at Fenton, 7:00

WEST SUBURBAN – GOLD

Hinsdale South at Addison Trail, 7:30

Morton at Proviso East, 6:00

Willowbrook at Leyden, 6:00 (at West)

WEST SUBURBAN – SILVER

Downers Grove North at Lyons, 6:30

Oak Park-River Forest at Proviso West, 6:00

York at Glenbard West, 7:30

NON CONFERENCE

Amboy at Earlville, 7:00

Christian Life at Christian Liberty, 7:30

Dixon at South Beloit, 7:00

Downers Grove South at Hinsdale Central, 7:30

Harlan at St. Francis de Sales, 5:00

Lake Forest Academy at Latin, 6:00

Legal Prep at Providence-St. Mel, 5:00

Lycee Francais at Unity Christian, 6:00

Marengo at Huntley, 7:00

Marian Catholic at Taylorville, 7:00

Midland at Lexington, 7:00

Ogden at Dunbar, 3:30

Orr at Fenwick, 6:00

Pritzker at Chicago Academy, 10:00

Raby at Amundsen, 1:00

Richmond-Burton at Crystal Lake Central, 7:00

St. Charles East at Marmion, 7:00

Wauconda at Dundee-Crown, 7:00

ERIE CATHEDRAL PREP (PA)

De La Salle vs. Cathedral Prep (PA), 7:30

LA PORTE CIVIC AUDITORIUM (IN)

Simeon vs. Indianapolis Cathedral (IN), 4:00

UPLIFT

Third Place, 12:00

Championship, 1:45

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BREAKING: Chicago Bears rule 3 out; 3 questionable Vs Vikings

The Chicago Bears rule three out

The Chicago Bears are getting ready to finish their season on Sunday against the Minnesota Vikings. Head coach Matt Eberflus said earlier this week the Bears ruled out quarterback Justin Fields for the game. The Bears will start Nathan Peterman and are looking to end the season on a low note so they can keep a higher draft position.

According to the injury report released Friday, the Bears ruled three out for the contest. Three more will be questionable against the Vikings. Nathan Peterman and company should be purposefully shorthanded on Sunday, so the Bears’ chances of dropping to 3-14 are high.

Bears out vs. Vikings

QB Justin Fields, hipDB Jaylon Jones, concussionLB Sterling Weatherford, illness

Bears questionable vs. Vikings

DL Angelo Blackson, illnessDB Kyler Gordon, groinDL Terrell Lewis, personal

Chicago Bears record on the line

The Bears have one record on the lie Sunday after they sabotaged any chance of Fields earning the single-season rushing record for a quarterback. The Bears currently are tied for the franchise most losses in a single season. A loss to the Vikings could make first-year general manager Ryan Poles and Eberflus peerless in the depths of Bears’ defeat.

We don’t know if Poles knows how to draft, find wide receivers, or build a team, and we don’t know if Eberflus can coach. But we do understand those two know how to lose. It should make for an enjoyable pre-draft season.

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Comprehending the incomprehensibility of Seijun Suzuki

There’s a meme that circulates regularly among cinephilic social media accounts in which Japanese filmmaker Seijun Suzuki appears to declare, “I make movies that make no sense and make no money.”

I confess to being one of those who’ve shared this meme, enamored as I am with Suzuki’s so-called senseless oeuvre and the lore surrounding his dauntless iconoclasm. The latter peaked in 1967 with what came to be called the “Suzuki Seijun Incident” (following the traditional Japanese naming convention); the director was fired from Nikkatsu, Japan’s oldest production studio, after the release of his maximalist masterpiece Branded to Kill for allegedly making “incomprehensible films.”

“As such,” studio head Kyusaku Hori later proclaimed in a statement, “Suzuki Seijun’s films are bad films, and to screen them publicly would be an embarrassment for Nikkatsu.” (Hori went so far as to prohibit Suzuki’s earlier films from being shown in a local retrospective; it’s unlikely, however, that these are the real reasons Suzuki was fired, as the studio was in dire financial straits and needed to justify budget cuts.) 

In his book Suzuki Seijun and Postwar Japanese Cinema (published in July 2022 by Columbia University Press), University of Chicago alum William Carroll explains the background of the aforementioned meme. In that widely quoted interview, Suzuki was actually revealing the reasons he’d been given for his termination, not making a declaration on how he perceived the coherence (or lack thereof) and financial success of his own films. 

This is one of many revelations that distinguish Carroll’s book, which provides a wealth of context around Suzuki’s singular output. Now an assistant professor of East Asian studies at the University of Alberta, Carroll situates Suzuki’s career within the cultural and political loci of postwar Japanese cinema. In celebration of this new, comprehensive text, the Film Studies Center at the University of Chicago will present Suzuki’s Taishō trilogy this weekend. Zigeunerweisen (1980) screens Friday, January 6, at 7 PM, and Kagerō-za (1981) and Yumeji (1991) screen at 4 PM and 7 PM, respectively, on Saturday, with Carroll in attendance. He’ll also discuss his book on Monday, January 9, at 5 PM at the Seminary Co-op Bookstore.

Carroll doesn’t disabuse readers of the notion that Suzuki was something of a cinematic apostate. Rather, he challenges assumptions that westerners might have about his films by providing studied insights into Japanese history and cinema, which in turn allows for a better understanding of them. As with the above misconception, it’s often what surrounds oversimplified interpretations about Suzuki’s inarguably idiosyncratic style that makes this possible. But it’s the very act of misunderstanding, in fact, that Suzuki is attempting to accentuate in his work. 

“Suzuki’s films are not ‘triumphs of form over content,’” Carroll writes, thereby challenging a commonly propagated idea in English-language criticism. He later elaborates: 

Suzuki consistently finds ways to turn conventions of cinematic forms against themselves and mislead viewers in the way he constructs space and meaning in sequences before suddenly revealing them, in a shock, to be something very different. The effect . . . invariably forces viewers to reconcile their initial misunderstanding with the surprising revelation at the end, and in doing so to confront cinematic form more directly, and to rely less on the preconceptions that led them to misunderstanding in the first place.

Such radicality elicited two factions of supporters in the wake of the Suzuki Seijun Incident: one was an emerging cohort of young cinephiles and critics who appreciated Suzuki’s disruptive aesthetic qualities, while the other consisted of student leftists who saw the filmmaker as an anti-establishment figurehead whose formal audacity, they assumed, reflected a similarly radical philosophy. Carroll considers both groups extensively, charting how these contingents’ ideologies sometimes overlapped but were oftentimes at odds. 

Originally starting as an assistant director at the Shochiku Company (another of Japan’s Big Four film studios), Suzuki eventually moved to Nikkatsu. After paying his dues in lower-level positions, he was given the opportunity to direct feature films, the majority of them under the auspices of Nikkatsu Action. Carroll included several of the director’s early films at the studio in a 2017 retrospective he programmed at Doc Films, and in his book he draws connections between them and Suzuki’s later, more characteristic films at Nikkatsu; he also illuminates how Suzuki’s films at the studio relate to the its other output of the 1950s and ’60s.

Suzuki made 40 films for Nikkatsu between 1956 and 1967; it’s the films from the last several years of his tenure—starting with Youth of the Beast (1963) and followed by Kanto Wanderer (1963), Gate of Flesh (1964), Story of a Prostitute (1965), and Tokyo Drifter (1966)—that have come to be readily associated with his overarching style, marked by impracticable compositions, bold colors with no apparent symbolic resonance, disjointed editing that disturbs any semblance of narrative continuity, and the frequent occurrence of events unrelated to the storyline evinced through a variety of formal techniques. 

In a chapter on the emergence of the “Seijunesque,” Carroll writes that “Suzuki’s approach to cinematic form is critical to understanding his body of work and what defines him as a filmmaker, but it is also a moving target.” 

“Rather than rigidly imposing preconceived formal parameters on his films from the outset,” Carroll continues, “Suzuki constantly absorbs and reacts to new developments, both generic-industrial and technological. [Critic] Ueno Kôshi wrote that the defining Seijunesque trait was not a sole formal device but rather zure, which could loosely be translated as ‘deviation’: the sense of sudden shock and confusion at what we see in front of us.”

After he was fired from Nikkastu, Suzuki worked prominently in television, making only a handful of independent feature films up until his death in 2017. The Taishō Trilogy especially marks a stark departure from the yakuza films for which he’s best known. As historical fantasias, all three films take place during the liberal period of 1912 to 1926 (which corresponds to the reign of Emperor Taishō), when Suzuki himself was born.

“Suzuki does have a certain affinity for Japanese culture in the Taishō era,” Carroll writes, going on to describe how Suzuki’s own peculiarities reflect those of artists from the era who inspired the trilogy.

Seijun Suzuki’s Taishō TrilogyZigeunerweisen (1980) 1/6 at 7 PM, Kagerō-za (1981) 1/7 at 4 PM, Yumeji (1991) 1/7 at 7 PM, Logan Center for the Arts, 915 E. 60th Street, free

Suzuki was unable to secure a traditional release for Zigeunerweisen, so the producer decided to exhibit it in an inflatable dome around Japan; the unorthodox strategy was met with great success. Based on writings by Hyakken Uchida, the film centers (if a Suzuki film could be said to center anything) on the relationship between two men and the geisha who passes in and out of their lives. Its title refers to a violin concerto by Spanish composer Pablo de Sarasate; on a famous recording of the piece from the early 20th century, Sarasate’s voice can be heard faintly saying something that no one has ever been able to comprehend. Suzuki’s protagonists discuss that recording in the film, but it has little connection to the story otherwise. 

Kagerō-za, made in the wake of the first film’s success and based on writings by Kyōka Izumi, follows a similar trajectory: in it a playwright encounters a mysterious woman who may or may not be the deceased wife of his wealthy benefactor. Indeed a supernatural element (largely absent from Suzuki’s Nikkatsu films) connects all three films of the trilogy. As Carroll notes, “Suzuki’s use of ambiguous and at times deliberately misleading practices in narration help to explain his proclivity for the supernatural in his later films, as well as an affinity to Taishō-era writers and artists, most fully realized” in this trilogy. 

The concluding film, Yumeji, came out roughly ten years after Kagerō-za. It differs from the other two in that it’s not adapted from literature; rather it’s a surreal biopic about Japanese erotic artist Takehisa Yumeji starring boundary-breaking rock star Kenji Sawada (something of a David Bowie figure in Japan at the time). The film doesn’t purport to be an account of Yumeji’s life but rather charts a series of his romantic affairs, interweaving considerations of art and mortality.  This feels the most merrily chaotic of the three, rather lavishing in its absurdity. 

A lack of contemporary zeal present in his Nikkatsu films enhances the films’ haunting nature, as well as relatively constrained color palettes; oddly, they invoke Raúl Ruiz by way of Luis Buñuel. But in terms of their general “incomprehensibility” (these are said to be among Suzuki’s most impenetrable films) and the qualities that go into them being so, they are unmistakably Seijunesque.


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Comprehending the incomprehensibility of Seijun SuzukiKat Sachson January 6, 2023 at 6:25 pm

There’s a meme that circulates regularly among cinephilic social media accounts in which Japanese filmmaker Seijun Suzuki appears to declare, “I make movies that make no sense and make no money.”

I confess to being one of those who’ve shared this meme, enamored as I am with Suzuki’s so-called senseless oeuvre and the lore surrounding his dauntless iconoclasm. The latter peaked in 1967 with what came to be called the “Suzuki Seijun Incident” (following the traditional Japanese naming convention); the director was fired from Nikkatsu, Japan’s oldest production studio, after the release of his maximalist masterpiece Branded to Kill for allegedly making “incomprehensible films.”

“As such,” studio head Kyusaku Hori later proclaimed in a statement, “Suzuki Seijun’s films are bad films, and to screen them publicly would be an embarrassment for Nikkatsu.” (Hori went so far as to prohibit Suzuki’s earlier films from being shown in a local retrospective; it’s unlikely, however, that these are the real reasons Suzuki was fired, as the studio was in dire financial straits and needed to justify budget cuts.) 

In his book Suzuki Seijun and Postwar Japanese Cinema (published in July 2022 by Columbia University Press), University of Chicago alum William Carroll explains the background of the aforementioned meme. In that widely quoted interview, Suzuki was actually revealing the reasons he’d been given for his termination, not making a declaration on how he perceived the coherence (or lack thereof) and financial success of his own films. 

This is one of many revelations that distinguish Carroll’s book, which provides a wealth of context around Suzuki’s singular output. Now an assistant professor of East Asian studies at the University of Alberta, Carroll situates Suzuki’s career within the cultural and political loci of postwar Japanese cinema. In celebration of this new, comprehensive text, the Film Studies Center at the University of Chicago will present Suzuki’s Taishō trilogy this weekend. Zigeunerweisen (1980) screens Friday, January 6, at 7 PM, and Kagerō-za (1981) and Yumeji (1991) screen at 4 PM and 7 PM, respectively, on Saturday, with Carroll in attendance. He’ll also discuss his book on Monday, January 9, at 5 PM at the Seminary Co-op Bookstore.

Carroll doesn’t disabuse readers of the notion that Suzuki was something of a cinematic apostate. Rather, he challenges assumptions that westerners might have about his films by providing studied insights into Japanese history and cinema, which in turn allows for a better understanding of them. As with the above misconception, it’s often what surrounds oversimplified interpretations about Suzuki’s inarguably idiosyncratic style that makes this possible. But it’s the very act of misunderstanding, in fact, that Suzuki is attempting to accentuate in his work. 

“Suzuki’s films are not ‘triumphs of form over content,’” Carroll writes, thereby challenging a commonly propagated idea in English-language criticism. He later elaborates: 

Suzuki consistently finds ways to turn conventions of cinematic forms against themselves and mislead viewers in the way he constructs space and meaning in sequences before suddenly revealing them, in a shock, to be something very different. The effect . . . invariably forces viewers to reconcile their initial misunderstanding with the surprising revelation at the end, and in doing so to confront cinematic form more directly, and to rely less on the preconceptions that led them to misunderstanding in the first place.

Such radicality elicited two factions of supporters in the wake of the Suzuki Seijun Incident: one was an emerging cohort of young cinephiles and critics who appreciated Suzuki’s disruptive aesthetic qualities, while the other consisted of student leftists who saw the filmmaker as an anti-establishment figurehead whose formal audacity, they assumed, reflected a similarly radical philosophy. Carroll considers both groups extensively, charting how these contingents’ ideologies sometimes overlapped but were oftentimes at odds. 

Originally starting as an assistant director at the Shochiku Company (another of Japan’s Big Four film studios), Suzuki eventually moved to Nikkatsu. After paying his dues in lower-level positions, he was given the opportunity to direct feature films, the majority of them under the auspices of Nikkatsu Action. Carroll included several of the director’s early films at the studio in a 2017 retrospective he programmed at Doc Films, and in his book he draws connections between them and Suzuki’s later, more characteristic films at Nikkatsu; he also illuminates how Suzuki’s films at the studio relate to the its other output of the 1950s and ’60s.

Suzuki made 40 films for Nikkatsu between 1956 and 1967; it’s the films from the last several years of his tenure—starting with Youth of the Beast (1963) and followed by Kanto Wanderer (1963), Gate of Flesh (1964), Story of a Prostitute (1965), and Tokyo Drifter (1966)—that have come to be readily associated with his overarching style, marked by impracticable compositions, bold colors with no apparent symbolic resonance, disjointed editing that disturbs any semblance of narrative continuity, and the frequent occurrence of events unrelated to the storyline evinced through a variety of formal techniques. 

In a chapter on the emergence of the “Seijunesque,” Carroll writes that “Suzuki’s approach to cinematic form is critical to understanding his body of work and what defines him as a filmmaker, but it is also a moving target.” 

“Rather than rigidly imposing preconceived formal parameters on his films from the outset,” Carroll continues, “Suzuki constantly absorbs and reacts to new developments, both generic-industrial and technological. [Critic] Ueno Kôshi wrote that the defining Seijunesque trait was not a sole formal device but rather zure, which could loosely be translated as ‘deviation’: the sense of sudden shock and confusion at what we see in front of us.”

After he was fired from Nikkastu, Suzuki worked prominently in television, making only a handful of independent feature films up until his death in 2017. The Taishō Trilogy especially marks a stark departure from the yakuza films for which he’s best known. As historical fantasias, all three films take place during the liberal period of 1912 to 1926 (which corresponds to the reign of Emperor Taishō), when Suzuki himself was born.

“Suzuki does have a certain affinity for Japanese culture in the Taishō era,” Carroll writes, going on to describe how Suzuki’s own peculiarities reflect those of artists from the era who inspired the trilogy.

Seijun Suzuki’s Taishō TrilogyZigeunerweisen (1980) 1/6 at 7 PM, Kagerō-za (1981) 1/7 at 4 PM, Yumeji (1991) 1/7 at 7 PM, Logan Center for the Arts, 915 E. 60th Street, free

Suzuki was unable to secure a traditional release for Zigeunerweisen, so the producer decided to exhibit it in an inflatable dome around Japan; the unorthodox strategy was met with great success. Based on writings by Hyakken Uchida, the film centers (if a Suzuki film could be said to center anything) on the relationship between two men and the geisha who passes in and out of their lives. Its title refers to a violin concerto by Spanish composer Pablo de Sarasate; on a famous recording of the piece from the early 20th century, Sarasate’s voice can be heard faintly saying something that no one has ever been able to comprehend. Suzuki’s protagonists discuss that recording in the film, but it has little connection to the story otherwise. 

Kagerō-za, made in the wake of the first film’s success and based on writings by Kyōka Izumi, follows a similar trajectory: in it a playwright encounters a mysterious woman who may or may not be the deceased wife of his wealthy benefactor. Indeed a supernatural element (largely absent from Suzuki’s Nikkatsu films) connects all three films of the trilogy. As Carroll notes, “Suzuki’s use of ambiguous and at times deliberately misleading practices in narration help to explain his proclivity for the supernatural in his later films, as well as an affinity to Taishō-era writers and artists, most fully realized” in this trilogy. 

The concluding film, Yumeji, came out roughly ten years after Kagerō-za. It differs from the other two in that it’s not adapted from literature; rather it’s a surreal biopic about Japanese erotic artist Takehisa Yumeji starring boundary-breaking rock star Kenji Sawada (something of a David Bowie figure in Japan at the time). The film doesn’t purport to be an account of Yumeji’s life but rather charts a series of his romantic affairs, interweaving considerations of art and mortality.  This feels the most merrily chaotic of the three, rather lavishing in its absurdity. 

A lack of contemporary zeal present in his Nikkatsu films enhances the films’ haunting nature, as well as relatively constrained color palettes; oddly, they invoke Raúl Ruiz by way of Luis Buñuel. But in terms of their general “incomprehensibility” (these are said to be among Suzuki’s most impenetrable films) and the qualities that go into them being so, they are unmistakably Seijunesque.


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Comprehending the incomprehensibility of Seijun SuzukiKat Sachson January 6, 2023 at 6:25 pm Read More »

Bears’ Jaquan Brisker, Chase Claypool available vs. Vikings; Kyler Gordon questionable

The Bears don’t have many key players left as they prepare to face the Vikings in the final game of the season Sunday, but a few are expected to be available.

Rookie safety Jaquan Brisker and wide receiver Chase Claypool practiced in full Friday and should be available to play Sunday. Rookie cornerback Kyler Gordon was limited and listed as questionable.

Claypool, who has been fighting a knee injury for over a month, practiced in full all week and would only miss the game if the Bears decide to hold him out as part of an organizational strategy. They’re already sitting quarterback Justin Fields because he has a hip strain, though Fields played through that injury last week against the Lions.

Gordon was limited in practice Thursday because of a groin injury, but returned Friday. Brisker missed Wednesday for a personal reason but has practiced both days since.

The Bears have the NFL’s second-worst record at 3-13 and are an eight-point underdog against the Vikings. If the Bears lose and the Texans beat the Colts, the Bears would secure the No. 1 pick in the upcoming draft.

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