Please leave me fooled

2017, movie(15'40'')

Chinese voice and translation: Yaka

Eri Hiramatsu's song Room and Shirt and Me(1992) is often called as "Women's Kampaku-Sengen" . Kampaku-Sengen(1979) is Masashi Sada's song, but you can see the lyrics of Hiramatsu's have different sincerity from ones of Sada.

In Sada's Kampaku-Sengen, a husband, the narrator, commands his wife the promises for home life in authoritative but affective tone, for example, "Make a good meal" or "You should sleep after me and wake up before me". Such lines are inspired by a patriarchy of Post-WW2 Japan. But on the other hand, Hiramatsu's lyrics do NOT represent matriarchy.

It is true that Hiramatasu's lyrics state the promises for home life of newlyweds, but her way is not like Sada. What she sings are not affective commands, but knacks of deceiving. The lyrics say:

If you have an affair, shall we die by poison soup together?,

but also say:

you should call her with my name,
in case you call the name of some girl in sleep.

Hiramatsu sings a knack for concealing, or an secret understanding for that a wife never know anything about her husband's affair. At the second verse, she sings:

Please do not deceive me,
because women always catch on,

and I think this phrase implicitly asks the husband to deceive his wife closely.

The best example is the story about "his right eyebrow". A bride, the narrator, gives her husband a warning not to have an affair:

When you lies,
your right eyebrow moves up

in the second verse. And in the third verse, the lyrics say:

When I pass away, please say 'I'll die soon after you'.
I go to heaven with your words in my heart,
after seeing your right eyebrow.

In short, Hiramatsu sings the knacks or conditions of lying for that "love works well". Contrary to Sada's song, whose words are blunt on the surface but have love in depth, Hiramatsu's Room and Shirt and Me tells us that the devices "to superficiously leave each other fooled" also have love work well.

Euske Oiwa's "Please Leave Me Fooled" is displayed at "Best Housing". On this exhibition, I think about "good but unsteady substitution". A living room appearing in the display room is incomplete because it is composed of only the floorplan, a sofa and a carpet. But it is able to pretend a living room as far as it deceive our bodies. It is usual that superficial handling enables some substitutions, whether body sensing or mental lying. There's no problem as for as they work well.

In "Please Leave Me Fooled", takes about 16 minutes, the woman's voice continues calmly. It hears like talking about the memories of her beloved one, but it is filled of many word plays, also her memories are all vague and ambiguous, so the story never get well-arranged. No consistent story appears.But on the other hand, (whether truth or not, or wordplay,) the fragmental episodes have some sincerity and the apostrophe "You" is so affective. This idle story, has a quality of sincerity but no composition, rushes with quotation which is memories of others and temporally paradoxical images. Fragments are connects metaphorical but the whole story are still vague and no certain past is narrated.

I say this movie plays "good but unsteady substitution for memories". Hiramatsu's lyrics ends with such words:

On our memorial day, please tell me 'you are beautiful'.
Please leave me fooled













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Exhibition 'Best Housing'

11.7.2017-11.10.2017, at Tokyo University of the Arts Ueno Campus

archive photo: Shuntaro Yoshino