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From LISTSERV@BROWNVM.BROWN.EDU Sun Jan 1 23:02:44 1995 Return-Path: <LISTSERV@BROWNVM.BROWN.EDU> Received: from mx4.u.washington.edu by redms.cac.washington.edu (5.65+UW94.10/UW-NDC Revision: 2.32 ) id AA04189; Sun, 1 Jan 95 23:02:43 -0800 Received: from mx2.cac.washington.edu by mx4.u.washington.edu (5.65+UW94.10/UW-NDC Revision: 2.31 ) id AA11689; Sun, 1 Jan 95 23:02:42 -0800 Received: from brownvm.brown.edu by mx2.cac.washington.edu (5.65+UW94.10/UW-NDC Revision: 2.31 ) id AA13790; Sun, 1 Jan 95 23:02:32 -0800 Message-Id: <9501020702.AA13790@mx2.cac.washington.edu> Received: from BROWNVM.BROWN.EDU by BROWNVM.brown.edu (IBM VM SMTP V2R2) with BSMTP id 2804; Mon, 02 Jan 95 02:01:14 EST Received: from BROWNVM.BROWN.EDU (NJE origin LISTSERV@BROWNVM) by BROWNVM.BROWN.EDU (LMail V1.2a/1.8a) with BSMTP id 3122; Mon, 2 Jan 1995 02:00:57 -0500 Date: Mon, 2 Jan 1995 02:00:55 -0500 From: BITNET list server at BROWNVM (1.8a) <LISTSERV@BROWNVM.brown.edu> Subject: File: "OPP SCRIPT-A" To: "Michael S. Johnson" <msj@CAC.WASHINGTON.EDU> Status: O OPP SCRIPT-A Subject: 1.) OMO(H)IDE PORO PORO script (1st half) (April 28, 1993) ======================================================================== Subject: 1.) OMO(H)IDE PORO PORO script (1st half) (April 28, 1993) Subject: OMOHIDE PORO PORO PART ONE Date: Wed, 28 Apr 1993 23:30:00 CDT From: "Bryan C. Wilkinson" <bryooki@CHINET.COM> Omohide Poro Poro (1991) (Memories with Teardrops): "Only Yesterday" Translated by "The Poro x2 Project": Poro part 1 translated by Hana Kawashima and Brad Lucido. Poro part 2 translated by Yohei Honda and Bryan Wilkinson. Revisions, first draft editing, and annotations by Bryan Wilkinson. Yohei Honda was consultant for some revisions and annotations, providing much additional translation from the books named in the bibliography on request. Second draft editing by Enrique Conty, David Goldsmith, and Bryan Wilkinson. Translation of "Ai wa Hana, Kimi wa Sono Tane" (Love is a flower, you are the seed) (The Rose) by Theresa Martin. Translation of "Koke Kokko no Uta" (Cock-a-doodle Song) by Lee Collins and David Goldsmith. This script is public domain and may be used in fan-made subtitlings provided that the above translation credits are given and the subtitle is not made for profit (we also wouldn't mind being sent a copy... :). Parties interested in using this script should contact the translators at the following address: Poro x2 Project c/o Bryan Wilkinson 10379 Lansdale Ave. Cupertino, CA 90514 or send email to the Miyazaki Discussion Group at: nausicaa@brownvm.brown.edu ------------------------------------------------------------ Due to the strong cultural elements in this film, this translation will be presented using Japanese names of some things that are representative of Japanese culture, and use the Japanese system of honorifics, explained below in brief. Some subtitlers may wish to present a more "Western" version, so alternatives are given after these cases which can be used as a substitute. These will be enclosed in [] brackets. Other places in the film translation include brief translations or explanations of some terms or things that can be easily included in a subtitling following the "cultural" version. These will be enclosed in <> brackets. Annotations are also included, giving much excessive detail on the background of some elements of the film--these may be used in part or entirety in small print below the subtitles if desired for viewers to check at their leisure with their freeze-frames if necessary--these longer annotations are enclosed in {} brackets and may be used with asterisks--*-- attached to the relevant dialogue. Some redundant descriptions may appear such as setting information. This and regular parenthetical statements will use parentheses (). Lastly, the inhabitants of the Yamagata Prefecture speak in a unique regional dialect which is quite strong. A small effort was made here to give these characters a vague-in- origin accent. --------------------------------------------------------- As mentioned above, the Japanese honorific system will be maintained in translation, in a simplified form. Here is a brief explanation: -san: honorific for someone of status equal to yourself -sama: honorific for someone of status higher to yourself -chan: honorific for someone of status lower to yourself, and term of endearment for family and friends-- very informal -sensei: honorific for professors, doctors, teachers -kun: similar to chan, but mostly applied to males Some relatives, though, have been identified by their direct Western counterpart's nomenclature (i.e. "Mother", "Mom", etc. rather than "Okaa-san", "Kaa-chan", etc.). Some pronounciations look confusing in English "romanji", so most are phoneticized instead, for ease of reading in subtitled form. There is no objection from the translators, though, if this is changed by a particular subtitler, and such changes are assumed valid alternatives. --------------------------------------------------------- Bibliography (for annotations, script, etc): Omohide Poro Poro (the original manga) by Hotaru Okamoto and Yuko Tone The Art of Only Yesterday Omohide Poro Poro Roman Album (All the above are published by Tokuma Shoten.) --------------------------------------------------------- Omohide Poro Poro: Only Yesterday [<Memories with Teardrops>] (opening credits) (part one--translation by Kawashima/Lucido) (1982: Office Building) EXECUTIVE You had said you would take a ten-day vacation--- So I just assumed you would be travelling abroad. But you are headed for Yamagata{*}, Okajima-san [Miss Okajima]? {* Yamagata: a rural prefecture about 180 miles north of Tokyo} TAEKO {*} Yes. {* Taeko, the main character of this film, is played by Miki Imai, who interestingly enough was well known in 1982, when much of this film occurs. She debuted acting in television dramas, but became famous for acting in makeup commercials and such, and later would become a popular actress and singer, whose career is still doing well today.} EXECUTIVE Did you break up with someone...? TAEKO I yearn for the countryside. (1966: School grounds {*}) {* Music note: the BGM for this scene, "Mime, Mime", is derived from an Israeli folk dance.} CHILDREN `Bye! See you later! Let's go to Hama's house. Nyah, nyah! What do you mean, "Nyah" ?! Let's go, let's go! TSUNEKO So...did your grades go up? AIKO Uh-uh. But it's all right. TOKO How come? AIKO As soon as I get home, we're going to Grandma's house. So I won't be in trouble until much later. TAEKO Wow, that's nice. Toko-chan [Toko], are you going to the country, too? TOKO Yeah, to Nagano. Are you, Taeko-chan [Taeko]? TAEKO I'm not sure. TSUNEKO Well, guess what--my father bought a cabin! TAEKO/TOKO/AIKO (in unison) Wow, that's great! (1966: Okajima Residence) MOTHER (OFF) As I expected, your math grade's not good. TAEKO Yeah, but I got a "B" in science {*}. Oh, Mom? Are we going somewhere for vacation? {* A "4" in the Japanese numerical system of 1-5. She got a "2" in math, which equates to a "D", her worst score on the card.} MOTHER Nowhere special. TAEKO Hey, Mom, take me someplace. MOTHER I'll take you to a movie. "Tsuru No Ongaeshi" [<The Crane's Return>] {*} is playing, isn't it? {* "Tsuru no Ongaeshi" is a 1966 theatrical puppet-animation film. It is not mentioned in the original Omoide Poro Poro manga, so it is probably mentioned here as a tribute by Director Isao Takahata. Going to see it by itself really is NOT a big deal, as the film was only 17 minutes long! It did, however, on a positive note, feature with the legendary Osamu Tezuka's first theatrical release of Jungle Taitei (Jungle Emperor/Kimba the White Lion) and two other shorts. The film itself is of a classic Japanese folk tale about a kind peasant who frees a crane from a trap, and is repaid in a supernatural fashion for his kindness--but later his curiosity gets the better of him, and by breaking a promise, his reward turns forfeit.} TAEKO That's not what I meant--someplace in the country. MOTHER The country? TAEKO Right, like "Grandma's house in the country". MOTHER Your Grandmother lives here, doesn't she? TAEKO Then Grandpa! MOTHER Didn't he pass away? We don't know any places in the country. Please don't ask for something we can't possibly do. (1982: Eidan Marunouchisen subway {*}) {* One of the oldest, if not the oldest, subways in Japan, and one of the more famous, because of its distinctive red- with white stripes paint scheme. It connects Ikebukuro to Ogikubo, and Taeko's stop is at Ohtemachi.} NARRATOR (1982 Taeko, Voice Over for all narration) I was born and raised in Tokyo, and my parents were as well. I always envied my friends who had a country hometown to return to. (1966: Okajima residence) NANAKO It's impossible to take a trip now, because everywhere will be crowded. TAEKO But I want to go somewhere. GRANDMOTHER How about Ohnohya? MOTHER Huh? GRANDMOTHER We've been regular visitors, so if we chose to go to Ohnohya, we might be able to reserve a room. TAEKO Where, where is it? NANAKO Oh, sure--Ohnohya is good, because Taeko hasn't been there before. MOTHER Say, that's right... TAEKO Hey, is it in the mountains? By the sea? YAEKO It's the Atami hot springs. TAEKO Huh--"Atami"? NANAKO Right. You can reach it by bullet train. YAEKO Oh, sure, that place would be good. TAEKO Atami... NANAKO (OFF) It's really fun--there are all kinds of baths. YAEKO Um, yeah, there's a giant Roman Bath. NANAKO That's right, and many smaller ones like the Swan Bath and the Pansy Bath {*}. {* "Pansy": "Sanshiyokusumire", a fancier floral name in Japanese meaning "three-colored violet".} YAEKO Right, right! The Pansy Bath! TAEKO Pansy Bath? YAEKO Yeah, it's a really fantastic bath! NANAKO Taeko, you just love baths, don't you? MOTHER (OFF) Okay, well Father is working and can't go, so why don't you four go together? YAEKO/NANAKO (unison) Huh? YAEKO US... NANAKO ...go TOO? (1966: Park) RADIO (reel-to-reel tape recorder) EXERCISES {*}: 1,2,3,4,5,6...lean to the side... {Calisthenics required for P.E. during vacation time} SIXTH GRADER Taeko-chan [Taeko], it's incredible--you've come to every single radio exercise. TAEKO Well, everyone else has gone to the countryside, after all. SIXTH GRADER (OFF) Taeko-chan [Taeko], aren't you going anywhere? TAEKO I'm going! SIXTH GRADER Where? TAEKO Atami! SIXTH GRADER Atami? What are you going to Atami for? TAEKO To go bathing! SIXTH GRADER Ohhh? Well, it's good timing. I'll be going, too--my relative's place, next Monday. So maybe no one will come to exercises for a while. (1982: Taeko's one-room apartment) NANAKO (OFF/TELEphone) Hello, Okajima residence. TAEKO Ah, Nanako `ne-san [Nanako]? It's me, Taeko. I'm leaving today, and was wondering if Mitsuo `ni-san [Mitsuo] {*} had anything for me to tell his family at the farm. {* This particular use of "`ni-san" uses a different character when written, meaning "brother-in-law": in this case Mitsuo is the husband of Nanako of 1982. This usage will also appear later for Mitsuo's brother Kazuo, and his wife, Kiyoko} NANAKO (TELE) Hmm...doesn't seem like he had anything special to say...oh yeah, would you buy some cookies or something for Naoko-chan [Naoko]? Say it's from Mitsuo Oji-chan [Uncle Mitsuo] and me, and I'll pay you back later. TAEKO That's fine...I'll say hello for you. How's Mother? NANAKO (TELE) She went out today. She was angry, though--after all, you did turn down her Ohmiai [<arranged marriage (traditional)>] meeting, didn't you? Considering that you're 27, you're not going to get any better choices for a husband. TAEKO That's all Mother ever talks about. NANAKO (TELE) But you should think about it, you know. You're not so young anymore. TAEKO Is that so? NANAKO (TELE) Yes, it is--you can't be a cute little girl forever. You can be so impulsive--you actually pitched in with the farming last year, didn't you? TAEKO Yeah, harvesting rice! And this year, I'm going to pick benibana [<safflower>] {*}. {The benibana is not a native flower of Japan, but is in fact the safflower of Egypt, and was introduced to Japan in early 600 A.D. More will be explained about this flower at length later in the film.} NANAKO (TELE) Benibana [Safflower]? TAEKO That's right! Because of your husband's family in the country, I can have a hometown. I might as well make the most of it! {Taeko's cassette tapes include Billy Joel: Flowers in the Attic, Dan Siegel, Southern All Stars (Tiny Bubbles), Yuming II (Yumi Matsutouya, who sang the theme music for Kiki's Delivery Service), Darryl Hall and John Oates, and Pointer Sisters.} NANAKO (TELE) Oh, cut that out. You don't get a vacation like this often, so instead of staying at such an old place, why not go to a nice rental cottage and have a "delicious life" {*}? {*"delicious life" (oishii seikatsu) is a catch-line from a commercial for the department store "Seibu". It was written by the famous copy writer Shigesato Itoi, who wrote the copy for ads for many commercials including for all of Miyazaki's films as well as this film, and was the voice of the father in My Neighbor Totoro. This commercial's copy was inspired by a Fellini film, and the commercial starred Woody Allen. This commercial popularized the use of "oishii" (delicious) as a slang word used to describe things besides food.} NANAKO (TELE, with 1966 insert) You might be able to meet a nice guy. TAEKO Stop, stop! You're trying to trick me again, like you did with the Pansy Bath at Ohnohya! NANAKO Ohnohya..? Oh...ah, that time, huh? You just talked about that a while ago, too. What a burden your past must be if you're still holding a grudge like that! (1966: bullet train) NARRATOR At that time, my sisters wouldn't have been caught dead going to a place like Atami. (1966: Ohnohya--Atami) TAEKO Oh... Grandma...? GRANDMOTHER Hmm...? TAEKO Done yet? C'mon, let's go to the bath. GRANDMOTHER Didn't we just go? TAEKO But that was only to the Swan Bath. NARRATOR I was incredibly bored. So starting with the Grimm Bath, and then to the Mermaid Bath, the Lemon Bath, and the Pansy Bath, I went from one to the next on my own. TAEKO It's enormous! NARRATOR By the time I had reached the Roman Bath, I was starting to feel dizzy... TAEKO Wow...! NARRATOR ...And I finally passed out. (1966: Park) NARRATOR Thus my much-anticipated one-night trip came to an abrupt end, and was followed by a long, long Summer vacation that was still waiting for me. RADIO EXERCISES: ...Jumping jacks--open, close, open, close. Next, arm and leg exercises. 1,2,3... (1982: Market on way to station, at Izumiya {*}) {* Izumiya is a chain that sells western cookies and cakes and other goodies} NARRATOR When I met with my sisters last time, I slipped and mentioned the disastrous bath trip, so we laughed, "Oh yeah, and then there was that time...", and the conversation turned to other memories of those days. {The music that can be heard in the background here is "Raideen" by Yellow Magic Orchestra from their hit "Technopolice" single (notice both are anime show titles...). With their innovative uses of synthesizer music integrated with computer programs, they were one of the key groups in establishing the "Technopop" genre of music. Keyboardist Ryuichi Sakamoto went on to fame for winning an Academy Award for creating the soundtrack of "The Last Emperor", and more significantly to anime fans, he created the soundtrack of Gainax's first film and highest budget anime film ever, "Oneamisu no Tsubasa" ("Wings of Honneamise"), released in 1987.} (1966: Okajima Residence) YAEKO (OFF) You've eaten this before? NANAKO (OFF) Nope, my first time. TAEKO Remember, I'm the one who asked for it {*}. {* In the manga, Taeko's best friend, Toko, got one at her birthday party from a Japanese-American friend, which sparked Taeko's interest in the fruit.} YAEKO We know. NANAKO Where did you buy it, Dad? FATHER The Senbiki shop in Ginza {*}. {* Popular for carrying more exotic foreign produce. Imported produce like pineapples, bananas, etc. were rare at the time and costly luxury items.} MOTHER It was expensive, then? YAEKO So, how do we eat this? NANAKO We slice it into rings. YAEKO How? NANAKO ...I don't know. MOTHER Father, didn't you ask the people at the shop? FATHER Uh-uh. MOTHER Let's eat it next Sunday. TAEKO Huh---we're not going to eat it today? MOTHER But we don't know how to eat it, do we? YAEKO I'm gonna eat a banana. TAEKO Me too! GRANDMOTHER Warmer countries have rather unusual fruit, don't they? (1966: later on) NANAKO I'm home! I found out how to serve pineapple. TAEKO, YAEKO (unison) What, really? TAEKO I..I'll get that. FATHER Carefully, now. MOTHER Wouldn't a fish knife be better? TAEKO Nice smell, nice smell! Nice fragrance, nice fragrance! FATHER Oh, I see. NANAKO Hey--plates, plates! YAEKO ..Oh, right! FATHER Itadakimasu [We shall try it now]. FAMILY Itadakimasu [Let's try it]. TAEKO It's tough. FATHER Not such a big deal. NANAKO Not very sweet at all. YAEKO It's completely different from when it's canned. GRANDMOTHER If you live a long time, you get to have many experiences. YAEKO Taeko can have mine. NANAKO Mine too. TAEKO ...Delicious... MOTHER You don't have to force yourself to eat it. FATHER You'll get a stomachache. YAEKO Oh well, that was boring. NANAKO Bananas are far more tasty, aren't they? YAEKO True, true. NANAKO As I expected, the banana is the king of fruit, I guess. YAEKO I'm gonna have a banana. {The TV music is "Tokyo Blues", a hit two years earlier.} TAEKO As I thought, the king of fruit is... the king of fruit is... (1982: the market, and Uenoeki Station {*}) {* Uenoeki Station is the largest station and transportation hub of Japan, the station for a number of express trains to all reaches of Japan, including the Akebono 3 Line, Taeko's next train. She used the subway mentioned earlier to get there. The Akebono 3 line is an overnight express that stops in Yamagata, and includes sleeping compartments. Her time of departure is 10:24 P.M., and time of arrival in Yamagata is 3:51 A.M.} NARRATOR ...the banana! The year I passed out at the Roman Bath and ate pineapple for the first time, was the same year that the "group sound" became a fad, starting with the Beatles' visit to Japan. Soon after that, the electric guitar boom would come. {the music playing is "Memories of Nagisa" (Omohide no Nagisa), by The Wild Ones, one of the debuting "group sound" groups alluded to here.} My sister Nanako 'ne-san [Nanako] was a freshman at an art college, and was always the first to try out all the new fads. NANAKO Yeah, "Michelle," isn't it? Another cool Beatles song, huh? NARRATOR She tried the mini-skirt when it first came out, and like everyone else, she hid her behind with a bag whenever going upstairs. My other sister, Yaeko 'ne-san [Yaeko], the smart eleventh grader, was completely in love with someone in the Takarazuka theater {*}. {* a form of theater performed entirely by a female cast, including the male roles, which has been popular for some time now (Osamu Tezuka, for example, cites being influenced by his trips to the Takarazuka when he was a child), sort of a counterpart to the all-male Kabuki performances. Takarazuka focuses on Western dramas. The "someone" Yaeko was in love with was the male-impersonator "Gon-chan", whom the Okajima family dog is apparently named after.} TAEKO Yaeko 'ne-chan [Yaeko]... YAEKO D....didn't I tell you to always knock first??!! NARRATOR The memories that my sisters mainly talked about were the stars and fashions that they were into. 1966 was a memorable teenage year for my sisters. But back then, I was only in the 5th grade. I became a fan of Julie of The Tigers {*}... ...but they didn't debut until later. There was no way for me to have big dreams in the days when I was just simply going back and forth between school and home. {* The Tigers was another "group sound" group that would debut the next year in 1967. Lead singer Kenji "Julie" Sawada was a pop singer (idol) who was popular with high and junior high school girls and would later continue a popular solo career.} TAEKO ...and it's been on the wall for a long time. MOTHER That's nice. TAEKO And I was told to keep the essay I wrote on the book, because they might send it to a contest. If that happens, I'll be very happy... MOTHER (OFF) You didn't eat your school lunch again. TAEKO ...huh? MOTHER Why do you put it between bread? TAEKO Because I hate namasu <daikon radish and carrots marinated in vinegar>. MOTHER Well, if you do this, we can't use the bread or the namasu. How wasteful. The kid who can eat all of her food is more respected than the one who can write an essay. (1966: classroom--Fifth grade, room 5) {The classroom music being played, and used for a humorous effect, is The Hungarian Rhapsody #5 by Brahms. This may or may not be a subtle tribute from director Takahata to Warner Brothers cartoons, particularly Friz Freleng, which used the same technique of synchronizing humorous animation with classical pieces, including this score. It also serves, in a way, as a foreshadowing tie to the real Hungarian music that plays a role in the later 1982 parts of this film.} SUU' Wow, how can you drink that tasteless stuff? TAEKO The milk's all right. It's the daikon radish and onion I can't stand. SUU' Since I'm leaving carrots today, I have to drink the milk. I wonder who decided you could only leave one thing? TAEKO Want me to drink it? SUU' W..would you? TAEKO And next time, you could eat my daikon or onion in return? SUU' Uh-huh, uh-huh, uh-huh. "Thank you!" LUNCH CREW (pony-tail girl) Aah, carrots!? SUU' You can leave one thing, you know... TAEKO I was right, the second bowl is worse... (1966: class meeting) BOBBED-HAIR GIRL There are people who keep running if they are told to start over again by the hall monitors. I think to keep running is really bad. "SPARE ME" "Start over again?" Spare me. RIE You can't run in the halls. PUT-UP HAIR GIRL, HER FRIEND That's right, that's right. TOKO It's dangerous--you might hurt somebody. SUU' No way--if I hit a girl like you, Toko, I would be the one hurt. TOKO Oh, PLEASE... SUU' I'm hit! TSUNEKO'S NEIGHBOR Once you ran, what can you do about it? AIKO'S NEIGHBOR Here, here. PUT-UP HAIR GIRL AND FRIEND Be quiet. Who asked you, anyway? TAEKO'S NEIGHBOR Why not abolish the system of starting over? HIS NEIGHBOR (GIRL) You can't, it's part of the rules. MALE CLASS PRESIDENT If you have an opinion, please raise your hand. TSUNEKO I do. MALE CLASS PRESIDENT Tani-san [Miss Tani]. TSUNEKO I think the hall monitor should run after the runner, catch them, and make them go back and start over. BOYS I do! I do! I do! MALE CLASS PRESIDENT Suzuki-san [Mr. Suzuki] SUU' And then the hall monitor has to go back and start over, too. BOYS Right, right! BOBBED-HAIR GIRL'S NEIGHBORS (BOYS) That's more like it! {*} {* Actually, "Iijanaaaaai!" (Isn't it good?), a gag-line used by the comedian duo "Haruno Tic-Tac"} RIE'S NEIGHBOR (BOY) That's right. MALE CLASS PRESIDENT Yes, Tani Tsuneko-san [Miss Tsuneko Tani]. TSUNEKO I don't think that the hall monitors need to start over because...their job is just like a police patrol car catching a speeder. MALE CLASS PRESIDENT Any opposing arguments? TONOMURA Like a patrol car...? TAEKO'S NEIGHBOR'S NEIGHBOR (GIRL) ...Then running is no good. MALE CLASS PRESIDENT The decision rests on allowing the hall monitor to run. Anything else to discuss? TSUNEKO Yes. MALE CLASS PRESIDENT Tani-san [Miss Tani]. RIE'S NEIGHBOR (BOY) Her again?! SUU' The show-off! TAEKO Quit chattering. TSUNEKO Lately I've been seeing people leaving food at lunch. I just read a magazine article about the war in Vietnam. In foreign countries like those there are many poor people. We are happily more fortunate. TSUNEKO'S NEIGHBOR Yeah, "we're happy." {*} {* Reference to the hit song "Kimi to Itsumademo" ("Be Forever with You"), by the still popular Yuzo Kayama. It comes from a part of the song that is spoken, not sung.} TSUNEKO (A-hem!) We must be thankful for the food we have. Right now we may leave one thing per meal, but I feel that is too lenient. RIE'S NEIGHBOR (BOY) Geez, Tsuneko...aren't you the goody two-shoes? TSUNEKO'S NEIGHBOR (BOY) Bleah! AIKO'S NEIGHBOR (BOY) Why can't we leave even one thing? SUU' And then everyone could leave the milk. TAEKO Why not ask somebody to eat what you don't like? TAEKO'S NEIGHBOR'S NEIGHBOR. That's obvious. BRAIDED HAIR GIRL'S NEIGHBOR (BOY) Some people leave extra by hiding it between their bread. BRAIDED HAIR GIRL Ohh, cheaters! BOY (OFF) School lunch stinks. MALE CLASS PRESIDENT Raise your hand! FEMALE CLASS PRESIDENT (KOBAYASHI {*}) Raise your hand! {* See the last portion of the movie, dealing with "Abe"} CLASS PRESIDENTS If you have an opinion, raise your hand, please! "SPARE ME" "Oh...you got me!"{*} {* gag-line from the comedian trio "Tempuku Trio" ("Sinking Trio")} {The music which can be heard in the background here is "Damatte Ore ni Tsuite Koi" ("Shaddup and Stick with Me") by the group Hana Hajime & the Krazy Kats. This was the main title song of the movie "Horafuki Taikoki," and the famous starring actor, Hitoshi Ueki, was a member of this group.} (1982: Train station) NARRATOR After I said goodbye to my sisters and went to bed, one by one, my memories of fifth grade came back. Memories about our dog, Gon...about sports day...about the scary feeling we got from reading Kazuo Umezu's comics...and even about yearning for an electric pencil sharpener {*}. {* All of these memories are stories from the original manga not adapted in this film. Kazuo Umezu was a popular creator of horror comics. The story in particular that scared her was "Mama ga Kowai" ("Mama is Scary") ran in Shojo Friend magazine in 1965 (actually when she was in the fourth grade, though she wrote an essay about it as a fifth grader), and was about a girl whose mother is really a snake-woman: Taeko wound up extremely suspicious of her OWN mother for a while after that...} (1982: Train hallway) Even such trivial things came back vividly, occupying my mind as if I were watching a movie, and overwhelmed the real me. (1966: Fifth grade, room 5) GIRL "A" FROM ROOM 4 Is there an "Okajima-san" [a "Miss Okajima"] here? There's the one. {The strange way the girls are walking is in imitation of a commercial for "Renown" women's apparel, one of the few color commercials of its time. The American women in the commercial walked in this unique manner (long, confident strides, in step), which was very surprising to the Japanese viewers.} Hirota-kun [Hirota] says that "I like Okajima-san [Okajima] of room 5." ...Shall we go? I'm gonna tell Hiro that you know, now! GIRL "B" (ROOM 4) Hurry up! TOKO So it IS true? (1966: Sukebeyokocho: "Naughty Alley") TSUNEKO Where, where? TOKO Over there. GRAFFITI "Taeko Okajima, 5th grade, Room 5 + Shuji Hirota, 5th grade, Room 4" {To the right of this is a drawing of Tetsujin 28go, the first anime giant robot, and quite popular at that time (and known in the U.S. as "Gigantor").} TSUNEKO. Oh, she's right! AIKO Whoa... TOKO See? TSUNEKO What kind of guy is Hirota-kun [Hirota]? AIKO I don't know. TOKO Me neither. TSUNEKO Taeko-chan [Taeko], are you sure you don't know him? TAEKO I..I..I don't know him. Not at all. (1966: Fifth grade, classroom 4) TSUNEKO Which one here is named Hirota-kun [Hirota]? BOY Oh, its some room 5 kids. GIRL A Hiro, you're being called. HIROTA Yes, that's me! TSUNEKO D...don't write strange things at "Naughty Alley"... HIROTA Huh? TSUNEKO ...Okajima-san ["Miss Okajima"] said to tell you. HIROTA I...I didn't write anything. GIRL A Ah, but Hiro, didn't you say you liked "Okajima-san [Miss Okajima] from room 5?" GIRL B He did, he did! GIRL C So we wrote it for you. HIROTA Whaa...?! GIRLS ABC (singing, in unison) "I love you, but..." GIRL C Cha cha cha cha! GIRLS ABC (cont'd) "...we're apart," GIRL C Cha cha cha cha! GIRLS ABC (cont'd) "just like the stars..." GIRL C Cha cha cha cha! GIRLS ABC (cont'd) "...that we see far away. {*}" {* "Hoshi no Flamenco" ("Flamenco of Stars"), another hit at the time by Teruhiko Saigo, this will appear again in the film in instrumental form.} TSUNEKO Goodbye. (1966: school hallway) TSUNEKO Taeko-chan [Taeko]! We just got back from meeting Hirota-kun [Hirota]. TAEKO Whaa...? TSUNEKO I certainly didn't forget to tell him you didn't want him writing strange things! AIKO Tsuneko-chan [Tsuneko]! TSUNEKO Oops, not supposed to do that. BRAIDED HAIR GIRL Good for you, Taeko-chan [Taeko-chan]. (1966: Room 5) BRAIDED HAIR GIRL Here, here. Look there--that's Hirota-kun [Hirota]. SUU' What, Hirota from room 4 likes Okajima? Hirota's incredible--he's an ace. TOKO Oh, a pitcher? SUU' The only one who can hit that guy's pitches is Tonomura. TSUNEKO Whoa, you don't say? SUU' We'll be playing against the team from his class in the fifth grade school tournament. {The music here is the instrumental version of "Hoshi no Flamenco," quoted by the girls earlier.} (1966: Fifth grade tournament) CLASS 4 Go for it, go for it, Hirota! Go for it, go for it, Hirota! UMPIRE "Play ball!" CLASS 5 Hit it, hit it, Tonomura! Hit it, hit it, Tonomura! GIRL A Go for it, Hiro...! ...Okajima-san's ["Miss Okajima's"] watching you! TSUNEKO Tonomura-kun (Tonomura), good luck! UMPIRE "STRIKE!" CLASS 4 STUDENT (OFF) Attaboy, Hiro! CLASS 4 STUDENT 2 (OFF) Strike 'em out, Strike him! TSUNEKO Taeko-chan [Taeko], I'll never forgive you if you encourage their side. TAEKO I...I wouldn't even think of such a thing! TSUNEKO, leading CLASS 5 Hit it, hit it, Tonomura! Hit it, hit it, Tonomura! Hit it, hit... UMPIRE "OUT!" CLASS 4 All right, all right, Hirota! All right, all right, Hirota! CLASS 5 BOY (OFF) Get him, Suu'! CLASS 5 BOY One leg hitter {*}! {* The famous one-leg hitting (also known as "Flamingo hitting") popularized by Japanese baseball legend Ou Sadahara, a Chinese player for the Yomiuri Giants, also known as "One-chan" because his Chinese name is the same as the character for the number "one", and his uniform number, is of course, the same.} UMPIRE "Strike!" "Strike!" "Strike! Batter out!" TAEKO Amazing... CLASS 4 All right, all right, Hirota! All right, all right, Hirota! All right, all right, Hirota! NARRATOR Even though I knew nothing about baseball, at least I could tell he was incredible. CLASS 4 All right, all right, Hirota! All right, all right, Hirota! AIKO What's the matter, Taeko-chan [Taeko]? NARRATOR Because of the cold and my nervousness, I had to run to the bathroom five times. CATCHER Over here! UMPIRE "Safe!" "Game Set." 5 to 3. Class 4 wins. TEAM MEMBERS Thank you for the game. GIRL B Terrific, Hiro! GIRL C Way to go! GIRL A You were great! TSUNEKO It's Suu's fault. SUU' Why? TEAM MEMBER You don't know anything. SUU' (OFF) Even Tonomura couldn't hit the ball, so how could we win? TEAM MEMBER (OFF) Right. TSUNEKO (OFF) It's because Suu' had an error. That's how we gave them three extra points. SUU' That's not true. BOY 1, CLASS 4 Hey, the coach is going to buy us all ice cream! BOY 2, CLASS 4 Really? BOY 3, CLASS 4 Great! GIRL A Hey, Hiro, why don't you go talk to Okajima-san [Okajima] from room 5? GIRL B Yeah, yeah! TAEKO I...I'm...ggg, going home! AIKO What's the matter, Taeko-chan [Taeko]? GIRL A Hey, she's going home... (1966: crossroads) HIROTA Uh..umm! Nah! ...Naughty! n..n..nah-Naughty Al..luh... ...luh...al..al... Ruh...Rainy days! TAEKO Huh? HIROTA ...Cloudy days, or sunny days...which do you like? TAEKO ...kuh..Cloudy days... HIROTA Oh, we're alike! {The music here is an instrumental adapted from the theme of the theatrical version of "Ohanahan", the mega-hit NHK drama series (with a maximum viewership of 54%, and an overall average of 46%) from that time. The fact that the end of the music and the end of the sequence sync perfectly was not intentional, but nonetheless a lucky accident.} {The starry eyes Taeko has in this one scene are appropriately in the style of popular girls' manga of this time frame.} (1982: Taeko's Apartment) TAEKO Rainy days...cloudy days, or sunny days...which do you like? Oh...we're alike. {The magazine next to Taeko on her bed is "an an", a fashion magazine for women published by Heibon Shuppan since 1970, though since then the company's name has changed to Magazine House. This magazine is a rival of the even more popular Non-No, published by Shueisha since 1971. Both magazines are still popular today.} (1982: On the train) NARRATOR I didn't intend to bring my fifth grade self with me...but once she was revived, she wasn't going to leave easily. But why the fifth grade...? (1966: Auditorium) TEACHER (OFF) The boys in the fourth period class will play baseball, and the girls will meet in the gymnasium. SCHOOL NURSE (OFF, but camera FADES/TILTS ON) Today there is something important to talk about. After you graduate from elementary school, you will go to junior high school, then high school, then grow up and have a baby. In order to have a baby, a woman's body starts preparing for it. (1966: Room 5) TAEKO You knew? TOKO Uh-huh. TAEKO Really? TOKO My mom told me when I was in fourth grade since I have been developing faster. TAEKO "Developing?" TOKO Right...I've heard that if you're taller or more overweight than average, your period might come sooner. So, in other words, Enomoto-san [Enomoto], Onobu, and Rie-chan [Rie] all probably already started theirs. TAEKO Oh...? TSUNEKO Hey, hey... Will you buy THAT? TOKO I'll buy it. TSUNEKO I thought so. TOKO Taeko-chan [Taeko], will you buy it too? TAEKO Uh....uh-huh.... TOKO Buying it's a good idea. Hey, remember like the school nurse said, you're going to need it eventually, after all. TSUNEKO That's true, you know. (1966: Lunch, Room 5) TSUNEKO'S NEIGHBOR (BOY) Hey, did you know the girls are buying underpants {*} from the infirmary? {* the "underpants" in question, as the viewer might guess, are specially lined with a napkin and are reusable. According to the manga, Taeko almost was lent a pair by Yaeko, until she asked too many embarrassing questions about it, and wound up having to get her own after all.} BOYS Huh? AIKO'S NEIGHBOR (BOY) Didn't you know, Suu? SUU Nope. BOY ACROSS FROM AIKO How come? How come you're buying underpants? GIRL BEHIND AIKO W...well it's...um, AIKO That is... AIKO'S NEIGHBOR (BOY) Why do they sell underpants at school? SUU Are they swimming shorts? {The music here is an instrumental of "Konichiwa Aka-chan" ("Hello Baby"), yet another hit song from an NHK television show, "Yume de Aimashou" ("See you in a Dream"). Also, for reference toward the next scene, the boy walking past with his tray and a knowing grin is the infamous Nakayama.} (1966: Girl's Restroom) TSUNEKO (OFF) Say what---!? TSUNEKO You went and told Nakayama-kun [Nakayama]? GIRL WITH PUT-UP HAIR What did you have to go do that for? GIRL WITH PLAIN HAIR RIBBON You're not supposed to tell any boys! TSUNEKO That's for sure, girls are supposed to keep it to themselves. PUT-UP HAIR Rie-chan [Rie], you like Nakayama-kun [Nakayama], so that must be why, well... TSUNEKO He must've asked you to tell him. RIE Um...uh-huh. TAEKO What's the matter? TSUNEKO Well, Rie-chan [Rie] here went and told Nakayama-kun [Nakayama] all about periods. TAEKO No way...! TSUNEKO That Nakayama-kun [Nakayama], he'll tell everyone about it. RIE I told him to keep it a secret. PUT-UP HAIR You can't trust him on that. TSUNEKO, HAIR RIBBON Right? Right. HAIR RIBBON Omigosh. PUT-UP HAIR The boys are so dirty-minded. TSUNEKO They sure won't only look up skirts, now. (1966: Hallway) GIRLS Hey! SLIDING BOY Safe! GIRLS Eek..! TOKO, TAEKO, GIRL WITH PIGTAILS Pervert! TSUNEKO Jerk! NARRATOR This skirt-peeping {*} had caught on earlier, and not surprisingly, the knowledge of menstruation only complicated the problem. {* Lifting skirts and looking up them when going past girls was a new fad among young boys in the mid-sixties--in response, many girls wore their gym shorts under their skirts (including in the manga).} SUU Safe! Ah, but your period isn't! SWEEPING GIRL Eek! Why you...! Wait up! SUU Sorry! Sorry! SWEEPING BOY PERIODical cleaning. PIGTAILED GIRL Jerk! SWEEPING BOY Hey, that hurt. SWEEPING GIRL Wait...! SUU Sorry! Sorry! STRIPED SHIRT BOY You've got a period. SHORT-HAIRED GIRL Do not! PUT-UP HAIR This is all Rie-chan's [Rie's] fault. SUU Ouch! {Need it be said that this music is "Turkey in the Straw"..?} (1966: Hallway) RIE I'm sorry. TAEKO What for? RIE That I slipped and told Nakayama-kun [Nakayama]. TAEKO Well, no big deal. RIE But the school nurse said it was important, didn't she? TAEKO That's true, but... RIE I...I was a fourth grader, when mine came. TAEKO Huh....really? RIE So that's why sometimes I skip P.E. class. TAEKO You skip P.E. when you have your period? RIE Right, my mother told me I should. Nakayama-kun (Nakayama) said that it must be a big bother for girls after I told him. TAEKO You told him about skipping P.E. class?! RIE Uh-huh, though I told him to keep his promise and not tell any other boys. TAEKO If you told him that... When any girl skips P.E. class, everyone will think she's having her period, won't they?! RIE Huh, you think so? TAEKO Darn right! BOY IN HALL TALKING TO ANOTHER ...really? I'll have to tell the guys. Hey...! (1966: Okajima residence) EXCUSE NOTE Please excuse Taeko from P.E. class because of the flu. TAEKO (cough) I'm not going to skip P.E. MOTHER Forget it--that summer flu will only get much worse if you don't skip it. TAEKO Well, then I'm staying home. MOTHER You don't have a fever, so you're going. TAEKO Then I'll go to P.E., too. MOTHER Fine, go ahead. But then if you get worse, it's on your head. TAEKO (cough) I'm going now. MOTHER I wonder when she started liking P.E. so much... (1966: Room 5) PONYTAILED GIRL Taeko-chan (Taeko), your face is real red. AIKO Oh, it really is. TSUNEKO What's the matter? TAEKO Its a cold. AIKO Do you have a fever? TSUNEKO You ought to skip P.E. PONYTAIL She's right. TSUNEKO I'll go tell the teacher. TAEKO That's okay! TSUNEKO But... TAEKO I have a note to excuse me from P.E. TSUNEKO What, well, that's okay then. Right? (1966: stairway) RUNNING KID Gangway! (1966: Room 5) RIE I'm also skipping it today, so we're together. (1966: School grounds) RIE That looks nice... I wish I could be playing dodge-ball. TAEKO Rie-chan [Rie], do you...that is, are you...having your period? RIE Mmm-hmmm. TAEKO I'm not, I've got a cold. RIE I know that, Taeko-chan [Taeko], you're just sick. TAEKO Right, just sick, that's what I am. RIE A period isn't being sick, of course. I'm sure I could play dodge-ball. DODGE-BALL BOY Oh, period contagion! RIE Huh? DODGE-BALL BOY Back off, back off! That was close--any further and we could have been contaminated! TAEKO ("Contaminated?!") OTHER KID Hey, over here! RIE Periods are contagious? How stupid! TAEKO It...It's not funny! RIE Taeko-chan [Taeko]...? (1966: Hallway) {The bin they are carrying is labeled "Dust Bin".} BOY Hey, a pair with periods! TAEKO It's not true! RIE What a pervert, huh? (1966: Incinerator) TAEKO Rie-chan [Rie], how can you stand this? RIE But it isn't really a bad thing, or so my mom tells me. TAEKO Well, I suppose so, but... (1982: Overnight express) NARRATOR A larva has to become a pupa in order to become a butterfly. I didn't want to become a pupa.... I wonder, maybe the reason I am remembering those days is because my period of becoming a pupa has come once again. I know something is different now compared to several years ago when I got my job. I am changing again. In work and play, we were always more lively than the boys. We thought we had already flown away from home...but now I look back and think maybe we were just too busy flapping our wings and forgot who we were. I wonder if the reason my fifth grade self is following me is that she is trying to tell me to look back and figure out who I am. Whatever the case, I decided to take a short nap until I arrived in Yamagata. (1982: Yamagata train station) TOSHIO {*} 'Scuse me--has the "Akebono #3" train already left? {* Toshio's voice actor is Toshiro Yanagiba, who debuted with the song-and-dance group "Iseihubi Sepia" ("iseihubi" is an idiom meaning "great change brought through innovation"), popular during the time this part of the film is set, and has since acted in many dramas, comedies, and films.} STATION EMPLOYEE You missed boarding it? TOSHIO Er...no... Oh! You're...Taeko Okajima-san [Miss Taeko Okajima], right? TAEKO Well...yes... TOSHIO Whew, that's good! The car's this way. TAEKO Um, er, excuse me, but just who ARE you? TOSHIO Oh, don'tcha remember? Well, can't say I blame you, there's small chance you would. I'm Toshio. Um...Kazuo's second cousin. TAEKO Oh...ah, really...? Oh dear. TOSHIO What's so funny? TAEKO Oh, um, nothing. I'm sorry, it's just I thought you were trying to steal my bag. TOSHIO Huh, that's cruel--remember, I certainly made it clear I knew your name, didn't I? TAEKO I spoke too soon. Thanks for coming out of your way to pick me up. I'm sorry about this. TOSHIO No trouble. TAEKO What happened to Kazuo 'ni-san [my brother-in-law Kazuo]? TOSHIO He suddenly called last night and asked me to pick you up instead. TAEKO It's been raining? TOSHIO Yep, but it's stopped for today. I should've borrowed my pa's car {*}...but, well, I happen to like this one. It's a little cramped, but hop in. Oh, mind if I keep it on? {The big sign on the left states "Benibana no Yamagataji" ("The Yamagata Road of Benibana"). This part of Yamagata's self-promotion. While benibana was popular in the Edo period, it was overshadowed by imported foreign chemical dyes in the Meiji period. The recent trend towards all-natural products, however, has brought about a revival of the use of benibana, and Yamagata has cashed in on this with several new benibana products including benibana noodles, benibana tea, benibana candy, and even benibana paper.} {* The teensy Subaru R-2 subcompact, an economical "road and leisure" car first manufactured by Fujijuko in 1970 in the shadow of the more famous R-360. It sports a 2 cylinder engine, and reportedly is able to do 115 kph at top speed. In researching the car, the movie staff took a full binder of reference photos and 8 mm videos.} TAEKO Um, sure. What unusual music... TOSHIO Its a group of five Hungarians called "Muzsikas" {*}. {* "Muzsikas" is a folk music group from Budapest featuring Ma'rta Sebestye'n. Three of their songs are used in this film: "Teremte's" ("Creation"), "Hajnali No'ta" ("Dawn's Song"), and "Fuvom Aze'nekem" ("My Song"). (These translations were in Japanese, and so may not be precise in English)} TAEKO Oh, Hungarian? TOSHIO Yep. TAEKO Do you know much about it? TOSHIO A little. It's music for peasants. I like it 'cause I'm one, too. TAEKO Wow, that's cool. TOSHIO Isn't it? You recall the time, when we all had a sake party at the main farmhouse {<Honke--the primary farmhouse, in a housing system determined by importance of position in the family by order of birth>} after the rice harvest, that one time...? TAEKO Umm, oh... TOSHIO Yep. And that time, a buncha guys crashed the party? Don't you recall that...? Well, to be quite frank, since they got wind of a young Tokyo gal being there, they decided to go check her out. I was one of those fellas. TAEKO Ah, ah... TOSHIO That fool! You came out here to pick benibana [safflower]? Are you into dyes or something? TAEKO No, just curious. You see, benibana [safflowers] are unusual...but maybe not so much for people here. TOSHIO Nah. What's famous is just the name of the cosmetics made from it, but it ain't so common anymore. Like my farm doesn't make it these days, for one example. TAEKO But I heard it prospered during the Edo era. TOSHIO True, 'cause there was a politician who gained influence through its sales. It would've been a big deal for the wealthier people, but it was only a product as far as we peasants were concerned. Ummm... "In the end, Someone else's skin would be touched by The vermillion flower." Do you know this one? TAEKO Right, its a haiku by Basho {<Matsuo Basho>}, right? I had looked it up before I came here. TOSHIO Do tell? Well, honestly, I looked it up myself yesterday. TAEKO Really... TOSHIO That same book also said that the women who gathered the flowers never were able to wear the lipstick made from them. TAEKO Is there going to be a festival here? TOSHIO Yep, the riverbank'll be full of people. TAEKO Agriculture's still in trouble, isn't it, with fields being reduced to make way for markets, and such. TOSHIO Sure, already there's a lot of trouble, and if it goes on, Japanese agriculture'll be ruined. Just some day, suddenly "poof," and its gone. But y'know, even with all this trouble or not, if you're trying your best, it still doesn't come easy. The work in the big city must be the same, right? TAEKO Sure...but the people who think work is everything are becoming fewer in number. TOSHIO How 'bout you, Taeko-san [Taeko]? TAEKO Huh? Me? I don't think I'm obsessed...with work, but I don't hate it, either. TOSHIO As for me, well, I think I can do my best in agriculture, 'cause its so interesting to raise living things. TAEKO You...raise livestock? TOSHIO Huh? No, that's not what I meant. I do have cows and chickens, but I don't mean livestock. Hey, look there...rice, as well as apples and cherries, they're all living things. TAEKO (OFF) Ohh. TOSHIO Yep. If I take care of them the best I can, I feel like they respond to me by trying to grow up their best. I guess I'm sounding a bit like some hotshot farmer, huh? TAEKO Not at all...I feel I understand. TOSHIO To be frank, I was working at a company until recently. I'm really just a beginning farmer, so... TAEKO Oh...is that so? TOSHIO So y'know, with my parents still in good health, maybe that's why my attitude is positive. But that's how I have to be, you see? I quit the company because someone doing "organic farming" called me and asked me to try it, too. Everyone said I was a fool, but so far, I have no regrets. TAEKO "Organic farming?" TOSHIO "Farming that requires guts...farming that gives you guts." That's a little joke. An "organic farm" uses as much compost as possible and as few agricultural chemicals and chemical fertilizers as possible. TAEKO Ohh, I've heard about this, it's non-chemical or uses few chemicals. TOSHIO But that's not right, it sounds so negative. It's really an ideal agriculture that takes advantage of the life force of living things. And people are only beneficial to it. That's what makes the whole idea so cool. TAEKO Huh. TOSHIO But this "helping" part is extremely hard. {The music here is the famous pan pipe music of Gheorghe Zamfir, of Rumania. His music became internationally renowned in the early eighties, and two of his songs serve throughout the film as the theme for both Toshio and the countryside-- "Frunzulita` Lemn Adus" ("Fluttering Green Leaves"), and "Ci^ntec de Nunta`" ("Song of Marriage"). Well, I've been told to take you directly to the fields... TAEKO Right, I'm ready to help out. TOSHIO Oh? You're not going to sleep? TAEKO You see, I heard that benibana [safflowers] should be picked in the early morning, when the dew makes the thorns soft. TOSHIO Well, that's true, but... TAEKO I'm a night owl, so I thought the best way to switch my life to being a morning person is to come by a night train. TOSHIO Huh, you really get into it, huh? TAEKO There it is! Good morning! KIYOKO Taeko-san [Taeko], welcome back! TAEKO Once again, I'm in your debt. Obaa-chan [Auntie], its good to see you doing well. BANCHA Welcome, welcome. KAZUO Aren't you tired? TAEKO No, not at all. KIYOKO I made your bed for you just in case... TAEKO I'm fine, look--I'm full of energy! KIYOKO Wow, you really are ready--you're wearing a farming uniform. TAEKO Though this is all I'm prepared for. BANCHA Young farmers' wives seldom wear them these days. But Taeko- san [Taeko], you're more into it. KIYOKO Ain't that a fact. TOSHIO Taeko-san [Taeko]! TAEKO Quit that! NARRATOR And thus began my second experience with country life. {The music here is of the Bulgarian Voice (choir), and is called "Malka Moma Dvori Mete", "Dilmano Dilbero". It is also unique in that the music either follows 7-beat or 9- beat time.} How can such a vivid crimson color be born from this flower? Kiyoko 'ne-san [my sister-in-law, Kiyoko] once told me a sad story that goes with it. Long ago, there were no such things as rubber gloves. When the young girls picked the flowers with their bare hands, they were pricked by the thorns and bled. The blood turned the color deeper crimson. I felt as if I heard the hostile feeling the girls, who never got to put the red color on their lips, must have had against the women in Kyoto that wore it. In order to get a handful of rouge, 60 heads of flowers are necessary. That shining, iridescent color had the same value as gold back then, I've heard. After washing them with water and stamping on them, kneading them by hand, and letting them sit in the air and water, they become oxidized, and begin to get closer to red in color. {The machine the benibana is put through here is a "Misokiriki", usually used for Miso.} In addition to that, if you let it sit two or three more days, the flower will ferment, becoming sticky, and turn into a deep red. Next, you stamp it with a mortar, squeeze it, and shape it into balls. And if you dry it in an oven, you finally are done with the flower patty, from which the main ingredient of rouge is made. A long time ago they didn't waste the remaining water which we got from compressing it earlier. Now this by-product usually goes unsaved. The crimson color, which is still in the leftover water, could be used for making a dye, which cloth can be stained in. This is the "benibana-dye" [safflower-dye]. (END OF PART ONE OF TRANSLATION.)