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Yumeji (1991)

Not Rated | | Drama | 31 May 1991 (Japan)
Painter and poet Yumeji Takehisa (1884-1934) gets involved with a beautiful widow, becoming a rival of her dead husband's ghost and the jealous lover who murdered him.

Director:

Seijun Suzuki

Writer:

Yôzô Tanaka
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2 wins & 1 nomination. See more awards »

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Cast

Credited cast:
Kenji Sawada Kenji Sawada ... Yumeji Takehisa
Tomoko Mariya Tomoko Mariya ... Tomoyo Wakiya
Masumi Miyazaki Masumi Miyazaki ... Hikono
Tamasaburô Bandô Tamasaburô Bandô ... Onshu Inamura (as Tamasaburo Bando)
Rest of cast listed alphabetically:
Yoshio Harada ... Wakiya
Kazuhiko Hasegawa Kazuhiko Hasegawa ... Onimatsu
Leona Hirota ... Oyo (as Reona Hirota)
Akaji Maro
Chikako Miyagi Chikako Miyagi
Michiyo Yasuda Michiyo Yasuda ... Owner of a hotel (as Michiyo Ohkusu)
Kimiko Yo
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Storyline

Painter and poet Yumeji Takehisa (1884-1934) gets involved with a beautiful widow, becoming a rival of her dead husband's ghost and the jealous lover who murdered him.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Japan

Language:

Japanese

Release Date:

31 May 1991 (Japan) See more »

Company Credits

Production Co:

Genjiro Amato Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Stereo

Color:

Color

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

The theme song of this film was used during the famous slow-motion walking scenes in "In The Mood For Love" (2000). See more »

Soundtracks

Yumeji's Theme
by Shigeru Umebayashi
See more »

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User Reviews

 
Torture
15 June 2018 | by ockiemilkwoodSee all my reviews

Unwatchable. Thought at first this was some '60s stoner trash, but, after checking, saw that it was made in '91 (when they should have known better). First shot is a double-exposure of chicks hitting underinflated beach balls into the air. "Why am I watching this?" I wondered (and kept wondering throughout). Involuted plot of infidelity, jealousy and murder is talked about in the past tense, but never fleshed out in the present. This detachment and disconnect deflates the movie like those beach balls. "Ghosts" come and go, in-between unappealing, asthenic nudity and sex, and meaningless, introverted dialogue and still shots. So much artsy-fartsy posturing, so little time. Someone, somewhere, sometime must have thought this was "hip."


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