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Woman of the Lake (1966)
"Onna no mizûmi" (original title)

 -  Drama  -  April 1970 (USA)
7.4
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Ratings: 7.4/10 from 187 users  
Reviews: 3 user | 5 critic

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Director:

(as Kiju Yoshida)

Writers:

(novel), (screenplay), 2 more credits »
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Title: Woman of the Lake (1966)

Woman of the Lake (1966) on IMDb 7.4/10

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Cast

Cast overview:
Mariko Okada ...
Miyako Mizuki
Shigeru Tsuyuguchi ...
Ginpei Momoi
Tamotsu Hayakawa ...
Kitano
Keiko Natsu ...
Machie
Hiroko Masuda
Aiko Masuda
Sakae Umezu
Yukio Tada
Natsu Setoguchi
Shin'ichi Matsushima
Mitsuhiko Shibata
Hisanobu Ichikawa
Kazumi Higuchi
Shinsuke Ashida ...
Yuzo
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Storyline

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Genres:

Drama

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

April 1970 (USA)  »

Also Known As:

Onna no mizûmi  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

2.35 : 1
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User Reviews

 
Sex and Love in Japan sixties
19 April 2013 | by (Villafrati,Sicilia) – See all my reviews

The dissatisfied and attractive wife of a wealthy businessman faithless an affair with a young employee who, during one of these meetings in a room by the hour, the photographer in compromising poses. The shots end up in the hands of a secret admirer of her that blackmails proposing a meeting in a coastal spa town. She agrees, but followed 'by the jealous boyfriend who is not going to give up on her despite already busy with another girl. Surprise ending. Chasing the restless spirit of a female presence in search of its own identity (sexual, social, emotional) Yoshida's story depicts the intense pages of the Nobel Prize Yasunari Kawabata, in a psychological drama refined and allusive, always torn between a representation a male-dominated society and closed (such as the Japanese of the time) and the new libertarian impulses that was a prelude to a relentless and progressive emancipation of the costumes. Product of an unconventional and innovative conception of art, the work of the Japanese director through as few shameless geography of a woman's body showed how symbolic and figurative representation of this cultural transformation, privileging plasticity in both the eccentric movement of the machine (the limit of mere exhibitionism) and in the choice of shots (often framing the intimacy of the protagonists from the shelter of a morbid indiscreet intrusion) the new prospects for a look that penetrates the epidermal surface of a reality seemingly reassuring to delve into the intricacies of a inner upheaval that does not take long to occur. The stages of this process of instrumental mystification of female identity is well represented by the figure of a protagonist (the beautiful Mariko Okada) as a character in search of a way out from their worries, moving from the role of reassuring gheisha and mother , to that of shameless exhibitionist and faithless to the threshold of a sexual transgression and sentimental that does not mind the subtle skirmishes of seduction and murder as a means of turning the final and decisive blackmail men: a tunnel with no escape from which, however, will come out a loser and unsatisfied . Accompanied by catchy melodies and sweet of you Ikeno and beautifully photographed by Tatsuo Suzuki, shows the soul of an ambiguous japan among the chaotic turmoil of city life to the ambiguity of a perverse and morbid sunny coastal province such as theater, posing for shots forbidden in the back room of a store development and printing to the unusual and daring of a film daring among the wreckage of abandoned ship in dry. The Yoshida movie glimpse an original dystopian sensitivity related to the role of women in Japanese society so far removed from the stereotypes and expectations of the Western audience, yet so intense for the evocative expressive and cultural fascination offering.


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