A woman who's been missing for twenty years suddenly turns up alive, and looking not a day older than when she vanished. When her daughter sees a painting of a woman identical to her mother...
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A blind masseur visits a samurai to request the return of a loan. The samurai kills him in anger, then has his servant dump the body in the Kasane swamp. However, the ghost of the masseur ... See full summary »
The descendant of the servant of a cruel and vicious samurai returns to the town where she was born, only to find that a cat who is possessed by the spirits of those murdered by the samurai is trying to kill her.
Rich industrialist Imai wishes to marry his elder daughter Kyoko off to Aoki, who he sees as the ideal candidate to take over his business. Kyoko, however, prefers the rugged but poor Soichi to Aoki's goody-two-shoes.
An old man dies of heartbreak when a cruel landlord is about to repossess his land. Since the man died in debt, his wife and daughter are indentured servants and are forced to work in the landlord's factory.
The actor Koheiji is terribly in love with the wife of his best friend, the playwright Takuro. To get her, he would even kill Takuro. In course of a fight on a boat on the water, Koheiji ... See full summary »
A woman who's been missing for twenty years suddenly turns up alive, and looking not a day older than when she vanished. When her daughter sees a painting of a woman identical to her mother, her reporter boyfriend helps her track down the owner.
You wouldn't know this film was made by Nobuo Nakagawa if the credits didn't say so. Apart from a brief flashback-within-a-flashback, the setting is contemporary, and the director seems at a loss to create tempo, suspense or atmosphere. The visual characteristics honed during his first three ghost films are almost completely absent - no lateral tracking shots, no lengthy takes, no dimming light levels. There's only one spooky sequence (a servant carrying a candle through a darkened house, responding to a summons from a room that's been unoccupied 20 years), and a small handful of innovatively-filmed shots (all involving mirrors). Particularly disappointing is the climax - far too drawn out and very clumsily edited.
Despite all these drawbacks, there are a few points worth noting. This was the first Japanese horror movie to be set in modern times. It was also the first film made in that country to feature a vampire as the protagonist, although this vampire is very different from the Western type. Finally, much of the film has the same rather tawdry look as the cheap monochrome shockers produced in Europe during the early sixties, such as Seddok and Lycanthropus, which is remarkable, considering it was made in 1958.
Vampire Woman is certainly an atypical entry in Nakagawa's filmography around this time.
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