7.1/10
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Kagero-za (1981)

Kagerô-za (original title)
Not Rated | | Fantasy, Romance, Thriller | 21 August 1981 (Japan)
A 1920s playwright meets a beautiful woman who may be the ghost of his patron's deceased wife.

Director:

Seijun Suzuki

Writers:

Kyoka Izumi (novel), Yôzô Tanaka
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4 wins & 4 nominations. See more awards »

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Cast

Cast overview:
Yûsaku Matsuda ... Shungo Matsuzaki
Michiyo Yasuda Michiyo Yasuda ... Shinako (as Michiyo Ohkusu)
Mariko Kaga ... Mio
Katsuo Nakamura ... Tamawaki
Yoshio Harada ... Wada
Eriko Kusuda Eriko Kusuda ... Ine
Ryûtarô Ôtomo Ryûtarô Ôtomo ... Master
Emiko Azuma Emiko Azuma ... Old woman
Hideko Okiyama Hideko Okiyama ... Woman in a bright colour kimono
Akaji Maro ... Homeless
Isao Tamagawa Isao Tamagawa ... Clerk
Asao Sano Asao Sano ... Head of a hospital
Hiroko Itô Hiroko Itô ... Maid
Bsaku Satô Bsaku Satô ... Station employee (as Bsaku Satoh)
Edit

Storyline

A 1920s playwright meets a beautiful woman who may be the ghost of his patron's deceased wife.

Plot Summary | Add Synopsis


Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
Edit

Details

Country:

Japan

Language:

Japanese

Release Date:

21 August 1981 (Japan) See more »

Also Known As:

Heat-Haze Theatre See more »

Company Credits

Production Co:

Cinema Placet See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.37 : 1
See full technical specs »

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User Reviews

 
A disjointed ride through a feverish dream
26 July 2005 | by MZRNSee all my reviews

I saw this film as a part of a Suzuki retrospective in Amsterdam, my first meeting with Suzuki, not knowing that it is all but representative for his more famous work from 50s-60s.

The plot of the film is difficult to describe because it is told almost without a cohesive narrative and totally non-linear and disjointed. I've never seen a film that resembles a feverish dream so closely. Roughly the story is about man confronted by one man (a rich business-man) and two women (a Japanese Geisha and a European, who dresses like a Japanese women).

Besides the 'narrative' distorted uniqueness, which allows the characters to jump from one location to the next or pop up (even within the same shot), the other interesting aspects of the film are the locations, the visuals and inter-textual connections. Just to name a few: We see the protagonist on a range of different locations in the Japan of the 1920s, both in the city as in the countrysides. Also the European woman with her piercing blue eyes and blonde hair (only when the moon shines) is a fascinating image. Suzuki's use of distorted Japanese paintings as a backdrop and a No-play performed by children in the final part of the film send shivers down my spine.

Although the film drags a bit in the middle, I left the theater with a positive, if slightly confused feeling. Maybe I liked it because it lacks any form of explicit explanation, just like a dream subjects you to an illogical and irrational 'story' that somehow makes sense. It is a film that forces you to leave every sense of (western) storytelling at the door. Or maybe it was just because it is fascinating to see a film in which every next shot is the complete unknown.


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