You cannot step in the same river twice
-Heraclitus

Travelling salesman makes his way back to his hometown after leaving in a huff twenty years earlier because of a fight he had with his father. A prodigal son story, but Tora-san is not your typical character. Vulgar, heavy drinking and incapable of following social norms, this semi failure of a salesman is a combination of Dice Clay and Forest Gump. He is exactly what his hometown needs and he gives it to them good and hard.

The creation of writer/director Yoji Yamada, Otoko wa Tsurai yo ran for an incredible 48 installments from 1969-1998. Western audiences and critics have largely failed to embrace Yamada’s masterpiece which stands in contrast to the love Akira Kurosawa (Yojimbo, Seven Samurai), Yasujiro Ozu (Tokyo Story), Takashi Miike (Ichi the Killer) and other Japanese directors have received over the years. Wanting to see Japan as subtle, cinematically pleasing and inscrutable or violent and grotesque, Western audiences just couldn’t find a place in their hearts for Yamada. Otoko wa Tsurai yo presents Japanese as people with simple, base desires and flaws that are universal. Tentacle porn can be amusing, but it doesn’t really help you understand what the average Japanese person is thinking.

The plot for the 48 installments is simple: Tora-san, played by Kiyoshi Atsumi, returns to the Shibamata area of downtown Tokyo, falls in love with a woman known as the “Madonna” character and causes all hell to break loose with his antics. The “Madonna” shows interest in Tora-san, but his awkwardness with women destroys any chance he had with her and she ends up getting together with another man whom she was destined to be with. The series is a love story despite the crude jokes and domestic violence.

I am Tora-san. I may not step out of your bathroom, patting my stomach and compliment you for having the fanciest toilet I’d ever seen. “That’s the sink, you idiot!” I haven’t bitch-slapped my demure sister for no good reason other than being drunk off my ass. I’ve yet to make jizz jokes at formal dinner parties where my sister is being introduced to her ultra conservative potential in-laws. I have mistakenly asked my mother-in-law, at first meeting, if she was still born. I’ve asked the elderly check out lady at the supermarket where she kept the breast milk. (Bo-nyu is breast milk, To-nyu is soy milk. Whoops.) We all fuck up and Tora-san is a ninth degree black belt in it.

We don’t toss Tora-san in a pot of boiling water for a couple of vital reasons. First, he is an injection of chaos into what can be an oppressive and stratified group-centered society. Tora-san’s outrageous behavior gives the audience a look at the Honne (real feelings) of average people. They may look stoic, but all Japanese people have wanted to crack a relative in the head at some point. Many have a great spooge pun pop into their head during a meeting, but they keep it walled off behind their Tatemae (social face). Tora-san is a vent that releases some of the steam in a country that has 30,000 or so suicides a year. Good on him.

Another reason we accept Tora-san is that without him, the star-crossed lovers would never end up together. Love, it seems, needs someone to smack it out of its reluctance. The “Madonna” can’t hook up with her true love unless someone kicks him in the balls and tells him to stop being such a pussy. While Tora-san’s advice may be awful, following terrible advice is better than whining like a bitch in the corner.

At the end of each installment, Tora-san leaves Shibamata in an act of temporary self-exile. He has to leave of his own accord or he wouldn’t be allowed back. Pushing people to their limits and then backing off, giving them time to digest what happened, is a skill sorely missing these days. Being 100% pure, concentrated chaos, Tora-san realizes that prolonged exposure to chaos would destroy his family. He leaves Shibamata and crosses the Sumida river until his services are needed once more. You may not be able to step in the same river twice, but you can piss in it multiple times.

The opening scene: