| Ken Ogata | ... | Tatsuhei | |
| Sumiko Sakamoto | ... | Orin | |
| Tonpei Hidari | ... | Risuke | |
| Aki Takejô | ... | Tamayan | |
| Shôichi Ozawa | ... | Katsuzô | |
| Fujio Tokita | ... | Jinsaku | |
| Sanshô Shinsui | ... | Zeniya no Tadayan | |
| Seiji Kurasaki | ... | Kesakichi | |
| Junko Takada | ... | Matsuyan | |
| Mitsuko Baishô | ... | Oei | |
| Taiji Tonoyama | ... | Teruyan | |
| Casey Takamine | ... | Arayashiki (as Kêshi Takamine) | |
| Nenji Kobayashi | ... | Tsune | |
| Nijiko Kiyokawa | ... | Okane | |
| Akio Yokoyama | ... | Amaya | |
| Kaoru Shimamori | ... | Tomekichi | |
| Yukie Shimura | ... | Amaya no Nyôbô | |
| Masami Okamoto | ... | Amaya no Chônan | |
| Hideo Hasegawa | |||
| Ben Hiura | ... | Yakimatsu | |
| Kenji Murase | |||
| Kosei Sato | |||
| Norihei Miki | ... | Shioya | |
| Kansai Eto | ... | Kin'yan (as Kan Etô) | |
| Ryutaro Tatsumi | ... | Zeniya no Matayan (as Ryûtarô Tatsumi) | |
| Satoko Iwasaki | |||
| Sayaka Nakamaru | |||
| Azumi Tanba |
Directed by | |||
| Shôhei Imamura | |||
Writing credits | ||
| Shôhei Imamura | (screenplay) | |
| Shichirô Fukazawa | (novel) | |
Produced by | |||
| Goro Kusakabe | .... | producer | |
| Jirô Tomoda | .... | producer | |
Original Music by | |||
| Shinichirô Ikebe | |||
Cinematography by | |||
| Hiroshi Kanazawa | |||
| Shigeru Komatsubara | |||
| Masao Tochizawa | |||
Film Editing by | |||
| Toshihiko Kojima | |||
| Fusako Matsumoto | |||
| Hajime Okayasu | |||
| Yoshiko Onodera | |||
| Masahito Watanabe | |||
Production Design by | |||
| Gorô Kusakabe | |||
Art Direction by | |||
| Hisao Inagaki | |||
| Tadataka Yoshino | |||
Set Decoration by | |||
| Senki Nakamura | (stage setting manager) | ||
| Mitsuto Washizawa | (stage setting producer) | ||
Costume Design by | |||
| Kyoto Isho | |||
Makeup Department | |||
| Seiko Igawa | .... | makeup artist | |
| Zenichirô Ishikawa | .... | wigs | |
| Takeshi Matsuo | .... | key hair stylist | |
| Yôichi Mitsuoka | .... | key hair stylist | |
| Tomoe Ookawa | .... | hair stylist | |
Production Management | |||
| Kimiyoshi Adachi | .... | production manager | |
| Kanji Aoi | .... | production manager | |
| Sôji Fukushima | .... | production manager | |
| Hisashi Iino | .... | assistant production manager | |
| Shinji Komiya | .... | unit production manager | |
| Ikuko Murase | .... | assistant unit manager | |
| Nobutsugu Tsubomi | .... | production manager | |
Art Department | |||
| Noriyuki Sugimori | .... | modeling | |
Sound Department | |||
| Kenichi Benitani | .... | sound | |
| Toshio Nakano | .... | assistant sound | |
| Tatsuo Tsukamoto | .... | assistant sound | |
Special Effects by | |||
| Yoshio Kojima | .... | special effects | |
Editorial Department | |||
| Kazuko Okayasu | .... | negative cutter | |
Other crew | |||
| Yasuhiko Chiga | .... | dentistry | |
| Yoshiyaka Hayakawa | .... | garden designer | |
| Naomi Honjô | .... | cooking supervisor | |
| Katsuyuki Katô | .... | unit publicist | |
| Shinji Komiya | .... | production controller | |
| Tsuguo Kuroda | .... | livestock glass | |
| Midori Kuwabara | .... | script supervisor | |
| Toshiyuki Mogi | .... | publicist | |
| Yoshiko Morita | .... | cooking supervisor | |
| Ryôhei Nakagawa | .... | caterer | |
| Hideo Suzuki | .... | title designer | |
| Uichiro Takeda | .... | hawk trainer | |
| Hiroshi Tanaka | .... | dentistry | |
| Teruyuki Tanaka | .... | garden designer | |
| Tsuneyoshi Yamada | .... | publicist | |
| Yasuo Yamamoto | .... | publicist | |
| Recent Posts (updated daily) | User |
|---|---|
| Sexual overload? | homegnome1 |
| Ebert+Siskel | punch-drunk_love |
| Surprisingly high number of sex scenes (spoilers) | cwy2009 |
| When Tatsuhei Said 'Bitch' | PinkPolka1010 |
|
|
|
|
|
| Warm Water Under a Red Bridge | Ran | Dogville | Noi the Albino | Blown Away |
|
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Japan section |
Death and what it means is the theme of the haunting and sensuous Ballad of Narayama, a Cannes Film Festival Grand prize winner from 1982 by Shohei Imamaura (Black Rain, The Eel, Dr. Akagi). Based on a novel by Shichiro Fukazawa, this spellbinding film takes place in a rural mountainous area in northern Japan about one hundred years ago. Because the villager's rice crop is meager and starvation is a chronic threat, according to village custom, the elderly must go to die on the summit of Mount Narayama when they reach the age of 70. Group survival depends on it and death is accepted as a fact of life in the village.
I must admit I had a hard time during the first hour being engaged with this film and sorting out all the characters. I found the graphic depiction of the cruel realities of village life to be ugly and often vulgar. For example, one character has sex with a village dog, an entire family is buried alive because they have been accused of stealing, and two snakes copulate next to a couple's sexual encounter in the woods. As the film progressed, however, I found it easier to accept how the brutal struggle for survival ensures continuance and self-preservation.
The story concerns Orin (Sumiko Sakamota) who, in her seventieth year, must complete all the loose ends in her life before she goes to die. One widowed son must find a new wife, another has to sleep with a woman for the first time, and the third needs to be taught manners. When Orin realizes it is her time to be taken to Narayama, her son Tatsuhei (Ken Ogata) carries his mother to the mountain on his back in scenes of ethereal beauty reminiscent of Sokurov's Mother and Son. The resistance of Tatsuhei to his mother's death is familiar, yet nonetheless deeply moving. At the end of the journey, Orin clings to her resolve with tenacity and reconciliation to the inevitable. Sitting on the mountain close to her God, she is rewarded by the sudden grace of the silent snow.
Watching Ballad of Narayama I was forced to confront my own feelings about the morality of suicide. Both during and since viewing the film, I have been haunted by the idea of a loved one slowly freezing to death on a mountain--for my benefit. Although I do not approve of taking one's life as a general ethic, I found Imamura's conception to be so deeply human that it became both tragic and immensely moving. The film functions on a level well beyond pat moralizing, showing the extremes that people will go to out of love for each other, and the grace that can be bestowed on such acts of sacrifice. It is truly unforgettable.