Ryuichi Sakamoto almost needs no introduction, but Stephen Nomura Schible's 2017 tribute to the Japanese composer confines itself to the period 2011-2017, following the Fukushima Nuclear Accident in 2011 which awakened his environmental activism and a cancer diagnosis he received around the same time. Although the film does give a potted history of Sakamoto's long and illustrious career, first as a member of electro-pop pioneers Yellow Magic Orchestra, and then as a solo and collaborative recording artist, 'Coda' is more a reflection on the difficult and transformative period in which the artist rebuilds his career while actually all the time wrestling with a sense of his own mortality. It's a fascinating glimpse into his artistic life at the time rather than anything to do with his personal life. The musical culmination of the period was the fine electro acoustic and ambient album 'Async' also released in 2017.
There isn't a lot of speaking in 'Coda', as the film maker does his work and lets the sounds and music do most of the talking. At times, Sakamoto appears flustered and awkward, yet remains interesting and thoughtful, willing to adapt to shine a lot on a whole 'artistic process'. Strangely, I think the film works best in the way it plods. Other reviewers have commented 'Coda' was a 'missed opportunity' for doing a great retrospective on the artist. I think that will surely come, particularly after Sakamoto's recent passing on 28th March this year, although I don't envy the film maker who takes that particular task on, as his career is immense and multi-faceted. Surely better to narrow the focus and hone in on certain aspects of the artist's work, which is I think what Schible has done?
Without being earth-shattering, 'Coda' is a sympathetic portrayal of Sakamoto as contemporary artist. The bits focusing on his love of film and books are what I'll take most from the film, perhaps best illustrated in the songs 'Andante' and 'Solari' which are also both on 'Async' (Andrei Tarkovsky's 1972 film 'Solaris' was one of his favourites, Russian composer' Eduard Artemyev's soundtrack influenced a lot by Bach which Sakamoto often incorporates into his music).
The parts showing Sakamoto pottering around with 'found' sounds are very endearing, rainfall, crisp forest undergrowth, even the bashing of dumped rubbish parts to create percussion, along with more conventional instruments like the ancient Japanese Shamisen (like a lute), wind bowls and bowed cymbols, and mustn't forget the 'Tsunami' Piano ("retuned" from nature after the earthquake of 2011), all of which Sakamoto ingeniously incorporates into his electro acoustic music produced in his home studio in New York where he lived for many years.
By throwing himself into his work during cancer remission Ryuichi Sakamoto was able to tap into a well of creativity, something he was able to maintain until this year when sadly he passed away after a second bout of cancer. He will be sorely missed.
There isn't a lot of speaking in 'Coda', as the film maker does his work and lets the sounds and music do most of the talking. At times, Sakamoto appears flustered and awkward, yet remains interesting and thoughtful, willing to adapt to shine a lot on a whole 'artistic process'. Strangely, I think the film works best in the way it plods. Other reviewers have commented 'Coda' was a 'missed opportunity' for doing a great retrospective on the artist. I think that will surely come, particularly after Sakamoto's recent passing on 28th March this year, although I don't envy the film maker who takes that particular task on, as his career is immense and multi-faceted. Surely better to narrow the focus and hone in on certain aspects of the artist's work, which is I think what Schible has done?
Without being earth-shattering, 'Coda' is a sympathetic portrayal of Sakamoto as contemporary artist. The bits focusing on his love of film and books are what I'll take most from the film, perhaps best illustrated in the songs 'Andante' and 'Solari' which are also both on 'Async' (Andrei Tarkovsky's 1972 film 'Solaris' was one of his favourites, Russian composer' Eduard Artemyev's soundtrack influenced a lot by Bach which Sakamoto often incorporates into his music).
The parts showing Sakamoto pottering around with 'found' sounds are very endearing, rainfall, crisp forest undergrowth, even the bashing of dumped rubbish parts to create percussion, along with more conventional instruments like the ancient Japanese Shamisen (like a lute), wind bowls and bowed cymbols, and mustn't forget the 'Tsunami' Piano ("retuned" from nature after the earthquake of 2011), all of which Sakamoto ingeniously incorporates into his electro acoustic music produced in his home studio in New York where he lived for many years.
By throwing himself into his work during cancer remission Ryuichi Sakamoto was able to tap into a well of creativity, something he was able to maintain until this year when sadly he passed away after a second bout of cancer. He will be sorely missed.