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Funeral Parade of Roses (1969)

Bara no sôretsu (original title)
The trials and tribulations of Eddie and other transvestites in Japan.


Toshio Matsumoto

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Cast overview, first billed only:
Pîtâ ... Eddie
Osamu Ogasawara Osamu Ogasawara ... Leda
Yoshimi Jô Yoshimi Jô ... Jimi
Koichi Nakamura Koichi Nakamura ... Juju
Flamenco Umeji Flamenco Umeji ... Greco
Saako Oota Saako Oota ... Mari
Tarô Manji Tarô Manji ... Nora
Toyosaburo Uchiyama Toyosaburo Uchiyama ... Guevara
Mikio Shibayama Mikio Shibayama ... Philosopher
Wataru Hikonagi Wataru Hikonagi ... Sabu
Fuchisumi Gomi Fuchisumi Gomi ... Piro
Chieko Kobayashi Chieko Kobayashi ... Okei
Yô Satô Yô Satô ... Radon
Keiichi Takenaga Keiichi Takenaga ... Humpback
Mamoru Hirata Mamoru Hirata


While dealing drugs on the side, Gonda operates the Genet, a gay bar in Tokyo where he has hired a stable of transvestites to service the customers. The madame or lead "girl" of the bar is Leda, an older, old fashioned geisha-styled transvestite with who Gonda lives and is in a relationship. Arguably, the most popular of the girls working at the bar now is Eddie, a younger, modern transvestite. Like Leda, Eddie lives openly as a woman. Eddie's troubled life includes her father having deserted the family when she was a child, and having had a difficult relationship with her mother following, she who mocked Eddie's ability to be the man the of the family. Gonda enters into a sexual relationship with Eddie, who he promises to make madame of the bar, replacing Leda in both facets of his life, with Eddie having threatened to quit otherwise. While Leda suspects what Gonda and Eddie are up to, Gonda tells Leda what she wants to hear, much as he tells Eddie what she wants to hear. As this ... Written by Huggo

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Japanese | English

Release Date:

29 October 1970 (USA) See more »

Also Known As:

Funeral Parade of Roses See more »

Filming Locations:

Tokyo, Japan

Company Credits

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Technical Specs


Sound Mix:


Aspect Ratio:

1.37 : 1
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Did You Know?


One short but prominent scene in the film takes place in an alley, with the characters standing in front of five Japanese posters for Pier Paolo Pasolini's "Oedipus Rex." Given the plot of the film, this eventually comes to constitute a significant allusion. See more »


[All goofs for this title are spoilers.] See more »


Featured in Expansion - Kakuchou (1972) See more »


Orphée aux enfers
Composed by Jacques Offenbach
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User Reviews

For the canon of important cinema
19 May 2018 | by markwood272See all my reviews

A few random ideas after multiple viewings: 1. The movie belongs in any canon or compilation of important cinema. 2. I found the movie very involving, even though it was done nearly a half century ago, halfway around the world, and concerns the lives of people I know little about - male transvestites, or using the Japanese term from the film, "gay boys". 3. Maybe the mind behind this project, Toshio Matsumoto, decided to try everything. And that he does. You can pick your own resonances and allusions and whatever. Here's what comes to mind for me: documentary/interview/wall-breaking (Vilgot Sjoman's "I am Curious (Yellow)" (1967), also Pasolini's "Comizi d'amore" (1964)); political diatribe (e.g., Godard's "Le Week-End" (1967)); poetic, arresting cinematography (Antonioni, such as "L'Eclisse" (1962)), absurd, comedic digressions and intrusions (cf. William Castle's "Mr. Sardonicus" (1961)), undercranking ("A Hard Days' Night" (1964) or "Tom Jones" (1963)); pure experimental/avant garde (cf. the films of Maya Deren or Dimitri Kirsanoff or Luis Bunuel). Anticipations include the cinema of Guy Madden ("Brand upon the Brain" (2006) or Hirokazu Kore'eda ("After Life" (1998)) 4. Shakespeare inserted the silly scene with the porter in Macbeth for comic relief in the midst of a clearly tragic story. I had never seen a film before this one that so effectively manages to mix serious with sad, realism with fantasy, and any of the other antithetical pairings whose boundaries more conventional movies treat far more scrupulously. "Funeral Parade of Roses" summons tears and laughter and just about everything else indifferently. The same indifference extends to the presentation of plot elements, when scenes are repeated. It works. 5. The music seems to have been provided in large part by a 50's-60's era home electric organ, i.e., one instrument. Sometimes a single note is all that is needed. 6. Editing is not strictly logical, but always plausible. Some of the transitions between scenes seemed to me to have been perfect. Why or how I cannot explain. 7. The people in the movie are amazing. I never doubted a single frame of this movie. This was the first film for the lead performer, an actor known as "Peter" or "Pita". In the role of Eddie he resembles Ida Lupino. His femininity was credible throughout, but just as credible was his reality as a human being. The entire cast imparted that sense of being really there. 8. This is, yes, an "art movie" ,but more specifically, a modern art movie. Even though the movie is from 1969 it has a stronger sense of "now" than any movie I had seen before. 9. Many favorite scenes, but one is the elevator ascent of Eddie and Guevara with out of frame dialog and music. Unforgettable. 10. To say the movie is "a Japanese version of Oedipus Rex" describes very little, but I suppose such identifiable labeling helped in marketing. 11. Not a mainstream movie but a classic of the "underground", I suppose - but after seeing this film several times, who needs categories? Some movies succeed by engaging our emotions in a story or subject, a character. I was captivated by this film's freedom. Why hasn't the audience become more adventurous, experimental, tentative? Why do people keep watching variations on the same movie over and over again only to complain of the monotony? 12. Simple: more people should see this movie. It reminds the viewer that you can do just about anything with the medium if you're willing to write your own rule book or maybe even do without one. That's the power of that man with a camera. He just needs an audience. Us.

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