Keisuke Kinoshita - Eien no hito aka Immortal Love (1961) I haven't seen any movies of Japanese director Kinoshita

Keisuke until Film Forum screened his 1961 film, the brutally ironically titled Immortal Love, in their Tetsuya Nakadai series. Best known in the West mostly as a name, and, if one is lucky, as the director of the first Japanese color film, Carmen Comes Home (1951), and Twenty-Four Eyes (1954), the Kinoshita worked into the 1980s but few of his films have shown up here in theaters or DVD. While no masterpiece, Immortal Love marks the imprint of a strong directorial vision, and I thought I'd share some notes on the film. By way of background, it tells of the story of a landowner (Nakadai), recently returned from, and injured by, war in China in the early 1930s. He falls for and rapes a tenant farmer's daughter (Takamine Hideko), and forces her to marry him despite her undying love for another farmer, also a soldier in China, who fatefully returns home too late. The film then charts the love-less marriage over several decades, stopping during and after the war in the 1940s, and then in the contemporary early 1960s. *** Immortal Love strikes me as very modern in its stylization, and very modern for 1961, absorbing lessons of camera bravura both from the rise of artcinema in the 1950s (Fellini, Rossellini), popular cinema turned "artcinema" from Japan (Mizoguchi, Kurosawa), and latter day Hollywood stylists getting wilder in the 1950s like Welles, Hitchcock, and Minnelli. The Cinemascope camera moves very often; tracking shots are prevalent; and a majority of the exteriors are shot on location in a stunning, forlorn valley (which includes a volcano and incredible waterfalls). The overt-stylization produces a distance in the definition of the story, the film world, and its characters. Despite the historical reference points (the Marco-Polo incident presumably framing the early 1930s military action, as WW2 does the 1940s segment), and some general mentioning of farmerlandowner relationships, Kinoshita's story is mythic rather than psychological, social, or behavioral. That doesn't stop it from being melodramatic, but there is a generality to the script that keeps context lean. More important than the way landowner Nakadai used his class privileges to get away with defiling and then winning his tenant's daughter is the stultifying atmosphere of mutual dislike and unhappiness that pervades their

household (and thereby, countryside) for several decades, obtaining a kind of ever-lasting ingrained quality with more to do with human relationships through time than anything specific or particular. To compensate, Kinoshita keeps things moving fast. The speed of the first chapter is almost of screwball comedy pacing. The amount of information about the scenario is dolled out in an almost shot-for-shot basis, and here Kinoshita is the strongest. As can often by the case in classically driven studio films, the first act provokes an ambiguity and strangeness as the audience has not yet settled into the rhythm of a film that has not made its value-system clear. In other words: we don't know where it's going or what the film places its importance on. So as the plot accelerates and ellipsesespecially involving the film's first several shots, of a young couple on a train at dusk, looking at one another with love, followed by a cut to Takamine looking out at the foggy landscape-as well as a startlingly poetic suicide attempt, provoke questions, the film is at its strongest. But the time-jumping chapters kill off a lot of that mystery, as Kinoshita settles into an advanced kind of illustrative style: here is the married couple unhappy; here is what they are like with their children; here this, there thatcue next time jump in our lesson of unhappy marriage. This would normally be a disparaging assessment if Kinoshita did not already know this was the narrative tack he was taking and directly compensated with an understanding style. So without richness of storytelling (say, psychological nuance, or expression of what living as a farmer or village headmaster in the provinces is like in terms of power structures), the director gives us a camera which dynamically frames our few actors within the unchanging, epic landscape of Nature (and thereby of the Farm, and the Landowner, and the Farmer's Daughter, and the True Beloved, and so on). Knowing the kind of mythic simplicity of the story he is telling, the director delves fully into the retelling of a common story by embracing the grandeur of the setting in order to bestow the unchanging nature of the legend onto its characters. It is a strange effect: realizing the weakness of translating myth to melodrama, Kinoshita takes his melodrama and tries to push it back towards myth. While the result is not as whole and compelling as one could wish, the story is, perhaps above all else, an experiment in cinematic storytelling, and, without the reflexivity of some contemporary modern films, it brings direct attention not just to its story but the way it is told.

Director: Kinoshita Keisuke Writers: Kinoshita Keisuke Date: 1961 Genre: Drama Description: Forced marriage, unhappy marriage, not quite a love story Cast: Nakadai Tatsuya, Takamine Hideko, Sada Keiji, Otawa Nobuko, Tamura Masakazu, Totsuka Masaya, Ishihama Akira, Fuji Yukiko, Nonomura Kiyoshi, Kato Yoshi, Tno Eijir Crew of note: Music by Kinoshita Chuji Runtime: 103 mins. Color: Black and White Trivia: summary Heibei has just returned crippled from the Sino-Japanese war. He is the son of the towns leader, living on what the village calls the familys mound. He spots Sadako, who has turned into a beautiful woman in his absence. He immediately falls in love with her (more like lusts for her), but she in turn is in love with Takashi, who has yet to return from the war. Using his fathers position and influence, Heibei forces Sadako to marry him, and we witness 29+ years of their miserable life together. Also, Spanish flamenco music in Japanese? review Sounds like your average troubled marriage film, but unlike many such films that are either totally pessimistic or totally optimistic about the fate of the marriage, Eien no hito is.. sort of different. Reason: Heibei and Sadako are both jerks. Yup, a story about a married couple trying to make each other fing miserable. Sounds delightful! Under some less able director or with a less talented cast, many of these characters would just end up as one dimensional charicatures, annoying and unbearable to watch. Nakadai is at his most vile (even worse than in his later Gosha starrers) and Takamine pumps out every last bit of her sarcasm and passive aggressiveness (accumulated from her Ozus and Naruses), yet it

is not possible to say that they go so far as to become detestable. Their relationship is pretty messed upand by that I mean really complexand its a wonder why theyre still together apart from making each other miserable. It sounds depressing, but not really. These periods of exceptional bitterness are sandwiched between longer periods of relative peace, where, I assume (because they arent shown), nothing really terrible happens. They just happen to be stuck in the same house together, is all. The English title is Immortal Love, which makes you think its supposed to be a love story, or that theres any love at all between Heibei and Sadako, and the title can be misleading, I think. In Japanese it only means eternal person, not necessarily someone you love (that would be koibito or some other term of affection). And perhaps this title is more accurate, granted a lot more ambiguous. They are just two people stuck together for life (under the social construct that is marriage). Whatever there is between them, love or hate or something else, well, you get to see and understand eventually. But the film would not be what it is if it werent for the music and the matching cinematography. Its 1961, and Kinoshita throws a curve ball straight at your head by using what is probably Spains national music style (Im too lazy to research), flamenco, with a singing narrator. Sounds cheezy, maybe, but it works perfectly. The angled, abrupt start-stop style of music fits well with the characters similarly rigid and confrontational personalities. The film is also decidedly underexposed during many scenes, with flickering light and darkness and jagged outlines of rocks, mountains, and blades of grass. Quick, rapid cuts, slow pans and zooms, still shots are all used in a striking blend; you will notice when one is used over another. There are also some of the most beautiful looking clouds Ive seen in a black and white movie: dark, ominous, lying low in the sky. Kinoshita probably used a red filter to get this look, maybe. Its very pretty? http://somewordsandplaces.wordpress.com/2009/06/11/mori-kazuo-jirochofuji-1959/ http://shogun-yashiki.blogspot.com/ Bakumatsu zankoku monogatari / A Cruel Tale at the End of the Tokugawa Era summary

This is a movie set in the ranks of the Shinsengumi, and youd benefit more from researching about them a bit, since there are a lot of good movies based on them. In this one, a cowardly man with no skills with a sword begs his way into the Shinsengumi with raw manly balls. Taking every opportunity he can get, he soon becomes the troops semi-official headchopper, executing newbies and veteran offenders alike. Some members become jealous though; they deride him for his dastardly work. Even his new girlfriend, one of the clans nurses/attendants, begins to doubt the kindness she saw in him in the beginning. review No frills here. No complex metaphors, vast political statements, heavy handed sentiments. This movie is about the Shinsengumi, the cruelty in their laws, and what happens to a man thrown into this mess. Thats it. And its fantastic. The storytelling is strong, unrelenting, full of details but always with the purpose of moving the film forward while exploring its characters to reveal just about enough. It assumes you know at least a little about the history behind these events, however, and no longer wastes time in explaining everything. Though the story follows history and Shinsengumi lore for the most part, there is still room for great twists, told from a unique perspective. What is most enjoyable about this film, however, is the chaos and bloodshed. Set pieces are meticulously planned. Each frame is full of action, and many of the best moments of action are taken in long, striding shots. Kato uses every bit of the black and white screen, and gives us some of the most brutal, bloody, and awesome scenes from 60s chambara. The most critical moments are also punctuated by a soft, subtle soundtrack, heightening the experience but never trying to steal the show. This is one of those movies that makes you wish you were born a samurai, despite all the crap these people had to deal with. Awesome. conclusion Ive got no complaints about this film. Even though it doesnt have many philosophical implications, even though it doesnt have much to say about the human condition, even though its just a story about a group of men in a time of turmoil, everything works. One of the best Shinsengumi tales, and a great chambara. Not quite a classic, but you can hardly find many better.

things to take note of I really want to know who plays Okita Soji. He looks interesting. This isnt exactly a very deep film, so just watch the swordplay Fuji Junko, legendary yakuza hottie, in an early role best moment Everytime theres a fight, and set pieces with fights The last scenes, of course! why you should watch this I love seeing chambara regulars in small roles (Nishimura, Kimura, Uchida) Lives up to its name as a cruel and brutal tale of the Shinsengumi Some of the best choreographed fight scenes in chambara

Samurai Rebellion(1967) summary The movie opens with Isaburo (Mifune), one of his clans best, displaying his sword skill drawing it seems like a mere ritual after decades of peace. Tatewaki (Nakadai) is his best friend, who patrols the borders of their clan. Eventually Isaburo will rebel (no surprise there) for a very good reason, and swordfights ensue! [note: Crappy summary for your benefit] review This is one of those films where it is best to enter with your preconceptions, expectations, and high hopes. This is the kind thats most difficult to review, because those said expectations are part of the experience, and revealing anything more than a bare-bones background and a technical rundown may be a disservice to the potential viewing public. Its best to see this film knowing only its title, Samurai Rebellion, as I did. Also, you should already have seen a least a couple of chambara, and know its tropes genre standards. Let me just say a few things, though. This is one of the most complexly plotted rebellion films in chambara, and it is one of the things that makes it most interesting. As with all of Kobayashis work, there is a rich undercurrent of political and social commentary, about the cruel and incomprehensible traditions of the samurai, and about modern life as well. The story is treated with much restraint, just as the characters in the story

control their emotions in order to fulfill either ninjo or giri. The dialogue between characters is meaningful, occasionally metaphoric, and always addressing some social or personal concern. Fidelity, loyalty and the acceptance of ones fate are traits esteemed by bushido, but sometimes, enough is enough. Expect a great film about a real rebellion. conclusion Harakiri is definitely Kobayashis most popular film, perhaps his best. Even The Human Condition receives more notice than this movie. Those two are justifiably must-sees, but this one deserves some recognition as well. One of the most intelligent, emotional, and down-to- earth rebellion chambara you will ever find. This isnt an unknown movie by any standard, but it still deserves more than its so far received. things to take note of The rebellion Mifunes dialogue best moment Mifune + Nakadai The last stand The last duel Conversation between Ichi an Isaburo in the rock garden why you should watch this Mifune + Nakadai!!!! A chambara with a love story that also proves your expectations wrong, and even bests them Portrait of Hell(1969) summary Poverty, cruelty and evilness in general during the Heian Period have disillusioned Yoshihide, a famous painter, of life in Japan. Lord Hosokawa, aware of his talents, employs him to make fabulous painting. Yoshihide declines, however, stating that he sees nothing worthy of painting, that all he sees is.. hell on Earth. The lord, at first, is angered by his callousness, but soon decides to challenge him to make a painting so frickin amazing and

real that even he will be impressed. Painting and crazy shit ensue. review I labeled this as a horror movie, because any film about hell on Earth should be considered pretty horrific, right? I suppose a more appropriate description might be freaky psychological inquiry into suffering and obsession that will make you very depressed, or possibly want to paint. Oshima Nagisa Gohatto / Taboo (1999) summary Kano joins the Shinsengumi, a militant group during the end of the Tokugawa Era, and apparently, hes a hot piece of ass. A couple of dudes start trying to pick him up, and soon, they start getting chopped to bits. Suspicions arise as to the identity of the killer, but nothing is certain. Except that Id rather go for Asano than Matsuda any day of the week (thats our little secret). review This film is not about homosexuality. Yes, its part of the movie, but it isnt the point. Homosexuality between some samurai was not entirely uncommon during this day, and the characters in this film (Kondo and Hijikata in particular) even poke fun at it. If it is accepted and even openly talked about, how can it possibly be a taboo? Well, it isnt, and the English title tries to take advantage of the homosexuality to make it the drawing-factor of this film. A good marketing ploy, sure, but it distorts what the film is truly about. The original title, Gohatto, translates to something more akin to laws or code of conduct, which, by the way, doesnt include anything about homosexuality. Keep that in mind while watching, and take note of the Shinsengumis laws (and bushido in general). Oshima is never just about sexuality and the physical manifestations of desire. That is only the surface. He delves deeper, focusing on true motives, the source of desire, the nature of desire, and our inner animal. This film is no different; it is Oshimas work, through and through. In Kano, we have that inner animal, desire unrestrained by inhibition or morality. We watch to understand. But can we?

The film being a tad boring at times, doesnt help. Those squeamish about homosexual relations will find some parts off putting too. The pictures are beautiful though, especially in the dark, and Sakamoto is brilliant. Yet I was left scratching my head after this one; I knew whodunnit, but that still didnt seem enough for me to understand everything that had just happened. conclusion This is a twisted, twisted movie, both in the execution of its narrative and its themes. It will keep you guessing from the start, and even when things are revealed, it will still leave you baffled. Does anyone really understand desire? What do we desire, really? Did I even understand everything about Kano at all? Hijikata seems like the only dude Id want to have a beer with by the way. A caveat: this film might not be as deep and complex as Id like to think it is. But, it also isnt just an exploitative homosexuality film. things to take note of The Japanese title That wonderful score by Sakamoto Pay attention or you wont understand a damn thing, even when you know what happened Shots in the dark, where things come alive best moment Kitano + sakura tree Mild jokes about the homosexuality (no it isnt insensitive) why you should watch this This is Oshimas last movie Kitano plays a wry, witty, and unique Hijikata Toshizo (usually depicted as grumpy and ruthless) Whodunnits with samurai are uncommon Shinsengumi movies are always interesting Okay, so it isnt so much about a physical hell on Earth (no demons, no monsters, not even a sexy mistress of destruction) as it is about obsession and cruelty. Nakadais character isnt really a bad person, and when compared to Nakamura, Nakadai is an absolute bambi. But all men are capable of some evilcan painting be evil, too?

Its a very interesting premise, one that could have gone very far, especially with the right music, appropriate set design, and frames that subtly emphasize this hell on Earthcrowded rooms, sharp objects, shadows, fire, etc. The movie, though, is but average in 2 of those 3, only excelling in set design. The music fails to create an atmosphere that is haunting/scary yet beautiful, opting to stick with instruments and perfectly progressing harmonies and neglecting found-sounds and odd unnerving notes. This hell on Earth sounds more like a stuffy oldtimes concert. I also dont think that sliding transitions and a spinning upward-tilted camera works in this context. Despite my gripes, there is enough in this movie to warrant seeing. The dynamics between Nakadai and Nakamura carry the film, and their respective talents shine. Not quite a horror, not quite a drama, not quite a psychological thriller, but probably something in between. conclusion For some reason, whenever a Japanese film contains the word jigoku (such as Jigokumon and the aptly titled Jigoku), I feel compelled to see it, even though I hate being scared out of my pants by movies. With an intriguing premise and two great leads, there is enough to recommend even to those who are chickens in the theater like me. things to take note of The painting Nakadais cameleon-like face Hell on Earth? best moment The fire. Crazy. why you should watch this Stars two of the most popular actors of the day Nakamura Kinnosuke in his craziest role Nakadai in his wimpiest role Okamoto Kihachi Kiru / Kill! (1968) summary Genta, a world weary yakuza, meets Hanji, a farmer who has sold his land

for a sword in order to become a samurai, along a dusty road of an abandoned town. They part, with the latter wishing to become employed by Ayuzawa Tamiya. It turns out that 7 samurai from his clan are hiding out in town in order to assassinate one of the clans higher-ups. Naturally, Genta gets mixed up with this bunch, and he must use his smarts to save them from themselves. PS. The plot is too convoluted, and too exciting, to reveal in detail in a summary. review Whoahooo. This is one crazy movie. Part parody, part deconstruction of samurai lore, part epic chambara, there is just too much fun and intelligence in this movie not to recommend it to everyone. There will be some comments about how out of place or shallow its comedy is, but if you know enough about Japanese history, the chambara film genre and this films contemporaries, and Okamotos other films such as Akage, you will be able to pick up on a more substantial level of laughter. Many of Kirus funniest moments arent even jokes; it is simply the situation the characters find themselves in, and the events that seem inevitable to take place. In fact, the pace of the movie is perfect, and none of the twists seem absurd, even though this film somehow relies on the absurdity of the period it is set in. A great performance from Nakadai that ancors everything. He is almost like a switch, moving from feigning cluelessness, to noble samurai, to sneaky yakuza, to badass swordsman in only one expression or less. Everything he does seems natural, and his transformation into the character is amazing. His expressions, his slightly absent gaze, his awkward, teetering stance and walk add to his portrayal. He has never been this funny, and if youve mostly seen him as a badass samurai (Dai-bosatsu toge, Goyokin, Kagemusha, etc.), the change really is quite amusing. The supporting cast full of strange personalities and quirks also do well. The gambling head priest, the innocent and unambitious old chamberlain, the fidgety constantly moving henchman characters so out of type yet fit into the world Okamoto creates. If you watch this as an entry into historic, period-correct, existentialist chambara, this might not work for you. But if youre up for some funny deconstruction, this is a must see.

conclusion Perhaps not a starting point for those just getting into chambara, but this should definitely be in everyones to watch list. Maybe after youve seen 20 or so important films in the genre, and have read enough about the period and its culture, this will be a great experience. things to take note of Nakadais performance Gentas comments and insights into the situation The against-stereotype characters How many times they say kiru (in any of its forms) best moment Hanjis conclusion about his wish why you should watch this One of the funniest chambara ever A great genre piece that defies expectations My favorite Okamoto, beating out Akage and Dai-bosatsu toge http://isohunt.com/torrent_details/189649045/?tab=summaryv