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Pastoral Hide and Seek (1974)

Den-en ni shisu (original title)
A young boys' coming of age tale set in a strange, carnivalesque village becomes the recreation of a memory that the director has twenty years later.

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1 win & 2 nominations. See more awards »
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Cast

Cast overview, first billed only:
Kaoru Yachigusa
Keiko Niitaka
Masumi Harukawa
Kan Mikami
Masahiro Saito ...
(as Masaharu Saitô)
Kantarô Suga ...
Me
Hiroyuki Takano ...
Me, as a boy
Chigusa Takayama
Salvador Tari ...
(as Salvador Dali)
Masako Ono
Yoko Ran
Sen Hara ...
Phantom of old woman
Kimie Makita
Kiyoshi Nakazawa
Sueshi Sasada
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Storyline

A young boys' coming of age tale set in a strange, carnivalesque village becomes the recreation of a memory that the director has twenty years later.

Plot Summary | Add Synopsis

Genres:

Drama | Fantasy

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Release Date:

28 December 1974 (Japan)  »

Also Known As:

Pastoral Hide and Seek  »

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(Eastmancolor)
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Connections

Referenced in Ore 5.35. tangenziale est (2008) See more »

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User Reviews

 
Terayama's memories and mythologies
30 December 2010 | by (Canada) – See all my reviews

Terayama's mastery of the image is inarguable. His compositions - kaleidoscopic, supersaturated, overpowering - are an integral part of his films' unique emotional landscape. He could almost be described as a director of Japanese kink, were his films not so deeply philosophical, cerebral and achingly emotional.

Here, Terayama paints his childhood in broad strokes, then proceeds to shake his head as if disappointed at the results; his images are an embellishment, he concedes, and the rest of the film delves more deeply into the metaphysical as he literally steps foot into his childhood to try to understand it and, if possible, change it, if only to find out what will happen if he does.

The film is charged with budding eroticism, a portrait of an adolescent's confusion juxtaposed with a man's midlife existentialism. Terayama was a fascinating man and he's putting his soul on display in this film, his own poetry woven through it as his memories ring with the surreal and come across more coherently as feelings than as literal moments. The figures of his childhood walk larger than life until, finally, the thin walls of memory come crashing down and the past is forsaken in favour of an urban present.


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