Recently, Amazon has produced some very good programmes for its streaming platform. James May’s new Amazon Original programme Our Man In Japan is not one of them. To be fair, where travel television concerns, I am a cruel critic. I don’t care for travel programs in which the presenter tries to be “the idiot abroad” or shows where the segments are ill-planned. This series includes both things far too often to achieve top marks but also contains just enough correct historical and cultural information for me to allow a pass, albeit begrudgingly.
Although the concept of traveling from the north island of Hokkaido all the way to southern Kyushu is a good one, they squandered the opportunity to show us the most fascinating parts of each island in favour of dog sled crashes and endless shots of May’s awkward interactions with his crew and/or diminutive robots. I nearly spit out a mouthful of umeshu when they lifted several sequences directly from Anthony Bourdain’s old Travel Channel series No Reservations. The most notable is a martial arts scene meant to recreate an old Shaw Brothers’ kung fu film. May’s voiceover comment that the producers couldn’t discern between the martial arts traditions of Japan and China speaks volumes to this production’s failure. It’s one of many mistakes the aforementioned Bourdain would never have allowed. His sequence appeared in the Hong Kong episode. Right where it should be. Why the hell the producers left it in here is baffling and insulting both to the audience and the traditions in question. At its best, travel television breaks down stereotypes and fact-checks fallacies. It should never ever reinforce them. Bourdain and his crew understood this. For the most part, May and his crew did not.
The series only manages one or two instances where May’s intelligence peaks out from behind its pandering cosplay mask. First was the inclusion of the art and history of Geisha. It was important in breaking down the misconceptions many westerners might have about their role in Edo-period Japan. The second was May’s contemplation on the influence of the indigenous Shinto religion on the popularity of modern yuru-chara mascot culture was a query the answer to which could have occupied a full episode on its own. Instead, the viewer is offered images of our host riding around in a miniature racing car dressed up as Ultraman. Most frustratingly, we see only a momentary glimpse of two Yakuza’s back tattoos inserted randomly during the series wrap-up. Evidence the crew filmed something but chickened out in the final edit. When combined with May’s refusal to enter a Maid Cafe, the series becomes the very definition of vanilla TV.
Kudos to the producer who figured out that pairing May with a Japanese person in every episode was akin to giving him a life-preserver. By the end of his first appearance, Yujiro Taniyama was far more charismatic than his uptight counterpart. He should have been the host. Hey…There’s an interesting concept! Why not have an English-speaking Japanese host? It would have been far preferable to take this journey through Japan with someone whose English was not perfect rather than to spend six episodes in a beautiful country rich in culture and beauty with a guy who still couldn’t pronounce sumimasen properly after 11 weeks.
If there is one image in the whole series that sums it up, it’s that of May’s Kyudo arrow stuck in the wall 3 feet next to its intended target. Unlike the shot of the Yakuza, they linger on this one for a good long while. It’s sad that Amazon’s producers couldn’t be more creative. Or creative at all. The result was a ripoff of superior travel shows. Going forward into a second season, it would be better to think outside the box. Or get a new host instead of placing James May inside a box entirely too big for him.