Sharmila Tagore on missing out on Rocky Aur Rani Kii Prem Kahaani with Dharmendra, “I fell ill and couldn’t do the film”

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“We shared the same birthday. He was my co-star in seven films. I knew he was not keeping good health. But the news of his passing is still very saddening,” said Sharmila Tagore, who worked in films as far-ranging as Satyakam and Chupke Chupke with Dharmendra. She reflected on their screen togetherness. “We first worked together in Devar and then during the same year in Anupama. Two very serious subjects, followed by an out-and-out commercial film Mere Humdum Mere Dost. Shooting with him was a breeze. He was as effortless on screen as he was off it. He was never ‘The Star’ on the sets, always his natural self. There was nothing put-on about him.” Sharmila Tagore recalled her first meeting with Dharmendra. “Before we worked together, we met when I was shooting with Yash Chopra’s Waqt. I don’t know in what context he was there. But I remember he was dressed… how shall I put it… not like a star at all. When s...
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Johatsu review – poignant account of Japan’s ‘voluntarily disappeared’

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Melancholy documentary follows the owner of a ‘night moving’ business in Japan, helping people abandon their own lives

‘Johatsu” means evaporation in Japanese, and is used to refer to those people who choose to disappear, severing all ties with their past lives and their families. It became a phenomenon in Japan in the 1960s, and intensified during the 1990s as the country struggled with a debt crisis. While some plot their departures on their own, others call on the services of “night movers”: companies that help people vanish without trace.

Following the owner of one such business named Saita, Andreas Hartmann’s and Arata Mori’s poignant documentary surveys the circumstances that drive people to desperate measures. Unfolding like a suspense thriller, the opening sees a man hurriedly get inside Saita’s van, his voice trembling with fear. Unable to cope with a possessive partner, he finally manages to flee. Interviews with Saita’s other clients reveal that, besides financial catastrophes, domestic abuse is often a catalyst for escape. At the same time, the reasons for a disappearance are not always clear-cut, and the film not only lends an ear to the “evaporated” but is also sympathetic to the abandoned, who are left with gnawing questions and no answers.

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