8.0/10
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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.

Director:

Shûji Terayama

Writer:

Shûji Terayama
Reviews
1 win & 2 nominations. See more awards »

Photos

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Cast

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

Country:

Japan

Language:

Japanese

Release Date:

28 December 1974 (Japan) See more »

Also Known As:

Pastoral Hide and Seek See more »

Filming Locations:

Mutsu, Aomori, Japan See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)
See full technical specs »
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Did You Know?

Connections

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

Frequently Asked Questions

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User Reviews

 
Terayama's memories and mythologies
30 December 2010 | by propastSee 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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