Transcending Shame and Carrying on the Art: Funaki Kazuo and the Bonzi Family in the Afterglow of the Showa Era (1970s)

Transcending Shame and Carrying on the Art: Funaki Kazuo and the Bonzi Family in the Afterglow of the Showa Era (1970s)

When Kazuo Funaki's attempted suicide was reported, the world was in an uproar. However, the media described his actions as "a great opportunity to use shame as a weapon. It is not uncommon for celebrities to be mentally trapped. A stalemate in one's art, scandals, changing times, and the expectations and disappointments of the public. All of these factors weigh heavily on those who take the stage.

In the 1970s, the Japanese entertainment industry was in the midst of a period in which established stars were being weeded out in favor of new trends. Funaki had reached the peak of his career as one of the three members of the Gosanke, but he was on the verge of losing his place in the world. The acceleration of television culture, the mass consumption of idols, and the generational shift in the singing world presented former stars with a harsh test. The composition of the performers taking the stage against their "shame to death" in such an era highlights the cruel aesthetics of the performing arts.

Turning from such a topic, Saijo Bonji is discussed as a theory of art. His performance in the TV program "Daughter, Please" was praised for its "vividness, as if he were a master riding a horse. Bonzi's art was a mixture of improvisation and control, order and chaos. His ability lay in his ability to read the audience's breathing.

The story is further told of Bonji's sons, Laughing Boy and Yuji. They are active in the Kansai region as a duo, and they have certainly inherited their father's comedic temperament and rebellious spirit. They embrace their art as a part of their lives to the extent that their father is described as "It feels good to know that he is respected.

The philosophy that runs through the three generations of this father and son is that the art is not only a skill but also a way of life. Funaki attempted suicide, while Bonshi controlled his art and survived. The contrast between the two is a microcosm of how entertainers lived and stood up during the violent Showa period.

In the 1970s, Japan's entertainment industry was in the midst of a tumultuous period, and behind the glamor was a quiet, life-destroying struggle. Funaki's revival and Bonzi's succession are records of a small art and soul that were scooped up from the midst of these struggles.