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With Beauty and Sorrow (1965)
"Utsukushisa to kanashimi to" (original title)

7.1
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Ratings: 7.1/10 from 125 users  
Reviews: 4 user | 2 critic

Long before the events of the movie Ôki, who was approaching middle age, had a relation to 16-year-old Otoko. She got pregnant, but the child was stillborn. Their relation stopped at the ... See full summary »

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Title: With Beauty and Sorrow (1965)

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Cast

Credited cast:
Kaoru Yachigusa ...
Otoko Ueno
Mariko Kaga ...
Keiko Sakami
...
Toshio Ôki
Kei Yamamoto ...
Taichiro Ôki
Misako Watanabe ...
Fumiko Ôki
Haruko Sugimura ...
Otoko's mother
Yoshiko Nakamura ...
Old woman in Arashiyama
Rest of cast listed alphabetically:
Miko Hirata
Yoshihide Sato
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Storyline

Long before the events of the movie Ôki, who was approaching middle age, had a relation to 16-year-old Otoko. She got pregnant, but the child was stillborn. Their relation stopped at the same time. Much later Ôki had become a famous writer, not least because of a novel about this love story. Otoko had become a famous painter. But she had never overcome the double early trauma and had become a Lesbian. Her favourite student and beloved one was the beautiful Keiko. 24 years after the early love Ôki goes from Tokyo to Kyoto to meet Otoko. The meeting is polite with secret emotional shadows. Keiko makes a plan. She intends to seduce Ôki, become pregnant, bear Ôki's child and give it to Otoko. She hopes that Otoko may thereby get rid of her trauma. But she also wants to take her revenge on the man who had harmed her beloved. Secretly she gets acquainted with Ôki's son, invites him to Kyoto and seduces him. Then she calls his parents and tells that he had promised to marry her. Horrified ... Written by Max Scharnberg, Stockholm, Sweden

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Plot Keywords:

love | writer | revenge | lesbian | boating | See All (14) »

Genres:

Drama | Romance

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Release Date:

28 February 1965 (Japan)  »

Also Known As:

L'amaro giardino di Lesbo  »

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User Reviews

 
Pathological Emotions Brought to Life on the Screen
15 January 2004 | by (Stockholm, Sweden) – See all my reviews

When Kawabata received the Nobel Prize in 1968, all works translated into Western languages contained very little action and explicit emotions. But he had also written very different works. 'Beauty and Sadness' is about people deadlocked in demonic constellations of pathological feelings. Masahiro Shinoda has adapted the novel for the screen with eminent skill and sensitivity to the psychological drama. Long before the events of the movie, Ôki, who was approaching middle age, had a relation to 16-year-old Otoko. She got pregnant, but the child was stillborn. Their relation stopped at the same time. Much later, Ôki had become a famous writer, not least because of a novel about this love story. With bitter jealousy his wife had typed a fair copy (an immense labour with a Japanese typewriter). - Otoko had become a famous painter. But she had never overcome the double trauma of losing at the same time the child and her lover, and she had become a Lesbian. She had sexual relations with half a dozen female students. Her favourite student and most beloved one was the unusually beautiful Keiko. 24 years after the early love relation Ôki goes from Tokyo to Kyoto to meet Otoko. The meeting is polite. But emotional shadows participate. Keiko, who knows the past events, makes a plan. She intends to seduce ôki, become pregnant, bear ôki's child, and give it to Otoko. She hopes that Otoko may thereby get rid of her trauma. After having carried out the seduction she tells her plan to Otoko. Violent explosions reveal more than triple jealousy. Otoko is jealous toward both Keiko and Ôki because they have had another partner than her. Keiko is jealous because of a memory which prevents Otoko from undivided return of her love. But she is also jealous toward Ôki because of his emotional relation to Otoko. The intensive jealousy scene in the movie is superior to the novel. But Keiko also has different feeling and aims. She wants revenge because Ôki has harmed her beloved. Without the parents suspecting anything she gets acquainted with Ôki's son, invites him to Kyoto, and seduces him too. Without his knowledge she calls his parents, tells them about the seduction and claims (falsely) that he has promised to marry her. Horrified they take the first plane to Kyoto. Meanwhile, she takes the son on boating, arranges an accident, and drowns him. It is close that she herself would also die. The concluding scene is one of the very best. Keiko is lying unconscious in a bed in a hospital. Both Otoko, and ôki with his wife, arrive at the same time. It is night. Through the window many lights over the sea can be seen, of people searching for the son's body. The psychology of this movie is absolutely convincing. And every scene feels genuine and full of real human life. Concerning photo and colour Shinoda has learned something from Antonioni, but he has applied it for his own purposes. I saw this movie twice 661213. Having subsequently seen hundreds of Japanese movies, I still think this is the best one ever made in Japan. I might include the film on a list of the 10 best movies I have seen during my long life. But I would not include the novel on a list of the 10 best novels.


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