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The Song Lantern (1943)
"Uta-andon" (original title)

7.2
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Ratings: 7.2/10 from 74 users  
Reviews: 1 user | 1 critic

The head of an acclaimed Noh (traditional, stylised Japanese drama form) troupe has a son whom he wants to inherit the troupe/ school... See full synopsis »

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(novel), (adaptation)
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Title: The Song Lantern (1943)

The Song Lantern (1943) on IMDb 7.2/10

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Cast

Cast overview, first billed only:
Shôtarô Hanayagi ...
Onchi Kitahachi
Eijirô Yanagi ...
Jirozou
Ichijirô Oya ...
Onchi Genjiro
Kan Ishii ...
Henmi Sessou
Isuzu Yamada ...
O-Sode
Eiichi Seto ...
Gen-ichi
Masao Murata ...
Muneyama
Ichirô Minami ...
Shounin (Merchant)
Keitaro Yoshioka ...
Fuji-ya no shujin
Ichirô Watanabe ...
Onchi-ke no deshi
Masao Yamaguchi ...
Onchi-ke no deshi
Hideo Nakagawa ...
Onchi-ke no deshi
Kiyoshi Harumoto ...
Onchi-ke no deshi
Akira Shima ...
Onchi-ke no deshi
Akio Hanada ...
Onchi-ke no deshi
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Storyline

The head of an acclaimed Noh (traditional, stylised Japanese drama form) troupe has a son whom he wants to inherit the troupe/ school... See full synopsis »

Add Full Plot | Plot Synopsis

Plot Keywords:

based on novel | See All (1) »

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Details

Country:

Language:

Release Date:

11 February 1943 (Japan)  »

Also Known As:

The Song Lantern  »

Company Credits

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Technical Specs

Sound Mix:

Aspect Ratio:

1.37 : 1
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User Reviews

 
A morality tale in the world of Noh
7 July 2007 | by (United Kingdom) – See all my reviews

This is a modern fairy story. It's a little hard to talk about without revealing the plot, but major themes are the evil consequences of arrogance, the redeeming power of guilt, the importance of a woman's virtue, the need for expiation of one's sins, the role of family and the power of forgiveness.

There's a fair bit of Noh in it, which is an acquired taste for some, but even if you don't understand any allusions, the film is still worth watching.

As ever in Naruse, some beautiful scenes, excellent camera-work and convincing interaction. It is a little stilted and contrived compared with his other films, and the acting is less powerful, with much less emphasis on womens' characters, but this is doubtless a response to the Noh context.


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