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

6.9
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Ratings: 6.9/10 from 115 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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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

 
masterful use of the camera
4 November 2013 | by (Canada) – See all my reviews

Other reviewers have covered the plot and the intense emotions especially jealousy. The acting and directing all work effectively for that but what I would like to emphasize is how the camera is used as a photography tool. Each and every scene is set up as a perfect photograph (as opposed to emphasizing movement). Just how important that aspect of the film is to the director is firmly communicated and driven home with the use of freeze frame in the final seconds. It is not a gimmick, it is a message. Angle, lighting, mood, colour, framing, etc are all as good as they can possibly be. The movie actually needs to be seen once as a story and again as a series of images. The two different have a symbiosis but consist of quite different experiences.


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