"When cherry trees blossom, people have parties. They sit under the trees with food and beverages. 'Oh, how beautiful.' That's all nonsense...before that the trees were feared." In Under ...
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The tragic story of Gonza, a handsome ladies man, set in the Tokagawa Period, a time in which appearences are very important. Gonza competes with Bannojo for the honor to perform the tea ... See full summary »
Acclaimed Chambara, Japanese Nouvelle Vague. In 1863, when Americans warships approach Japan, a enigmatic ronin becames a important figure in a complex game of power between the xogunat and the imperium.
When Sokichi stops providing his long-time lover Kikuyo enough money to pay for the care of their three young children, Kikuyo leaves the children with Sokichi - and his very surprised and angry wife Oume - and disappears.
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 »
"When cherry trees blossom, people have parties. They sit under the trees with food and beverages. 'Oh, how beautiful.' That's all nonsense...before that the trees were feared." In Under the Blossoming Cherry Trees, we are treated to one of Masahiro Shinoda's most terrifyingly beautiful works. Based on a shorty story by Ango Sakaguchi, the film tells the tale of a poor Mountain Man who kills his seven wives (six to be precise; he leaves one alive to be a servant) to please an alluring woman he has captured. As the film progresses, the Mountain Man goes to unimaginable lengths to please his New Wife, who is never satisfied. Directed by Masahiro Shinoda, based onthe novel by Ango Sakaguchi.
I watched this with "Professional Sweetheart." They have similar structure: a pretty girl and a rustic get involved in shows and the thing ends. In this case it ends tragically.
And the show in this case is pretty gruesome. A pretty girl is captured by a rough robber who works alone. He takes her home for his wife.
She turns into the wife from hell, trading what we see as great sex for increasingly more difficult favors. Then those favors escalate to demands to bring more and more severed heads for her to act out plays with. The heart of the film is her plays, her discovering that she is missing some character and sending her loutish but charmed husband out to get the head of a specific character: "the last monk wasn't mean enough looking."
Meanwhile, we know that the cherry trees, when they blossom, magical curses affect those who wander through. This happens, and the falling petals are every bit as wonderful as you'll see in a Zhang film.
The story is slow by western standards, but the structure is a western folded narrative spliced onto a traditional Japanese ghost story. The blossoming trees, the curse and the fantastic end with the air filled with petals and the smiling beauty dead, being caressed by the cherry blossoms is traditional. The business about explicitly constructed narrative (the head puppets) within the narrative is from the new wave influence sweeping Japan in that era.
In both cases, the camera is extremely well managed. Space is essential, and one gets the idea that the story is only an excuse for the structure, and the structure is only an excuse for the visions. These are formally framed, and some of them are amazing. Visually, this is certifiably worth it.
Ted's Evaluation -- 3 of 3: Worth watching.
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