Japanese Summer continues

JAPANESE SUMMER continues…

The Cinematheque Ontario series of 24 Japanese classics continues at the Jackman Hall, Toronto with a real horror story, a camp gangster flick and a ghost story – capsule reviews of these films provided below.

This is a rare chance to see the seldom screened films.  For complete schedule of program with ticket information and times, check the website at:
http://www.cinemathequeontario.com

ONIBABA (THE HOLE) (DEMON WOMAN) (Japan 1964) ***1/2
Directed by Kaneto Shnido
ONIBABA is a Japanese horror film with a difference.  The ghosts and demons are real in this one and derive from the passions and jealousy of a murderous, robbing DEMON WOMAN (Nobuko Otowa).  The film is set in tough times (the Japanese civil wars) with tough people that survive as dogs and bitches.  When Hachi (Kei Sato) returns from the war with news that her son is dead, the woman is driven past the point of crazy, especially when Hachi starts having sex with her daughter-in-law (Jitsuko Yoshimura).  The older woman runs around topless like a ***censored*** in heat half the time.  The younger is in heat and Hachi is the dog that drives both into a sexual frenzy.  In the midst is a huge hole in the ground where soldiers fall in and the women climb down by rope to steal the spoils.  ONIBABA is compelling to watch for the reason that the characters are downright ugly.  Shindo’s film is black and white and set in a vast area of wild grass and river where the barrenness of the terrain matches that of the characters.  The decent of the older woman into madness and decay is disturbingly real as Shindo shows how desperation works its ugly colours.
(Screening Thursday July 17th 8.30 pm)

TOKYO DRIFTER (Japan 1966) ***
Directed by Seijun Suzuki

The theme of gangster attempting to go straight has been tried many times in films but never as colourful and alive as in TOKYO DRIFTER.  The character of the title refers to Tetsu (Tetsuya Watari), a hit-man always clad in a mod light blue suit trying to leave his past behind.  His past catches up to him in the form of more killings, wild women and lots of brawls.  Suzuki uses a multitude of camera techniques, from hand held, tracking, tilted camera, cross cuts and more to create an edgy field for his film.  His use of wild colours reflects his playful treatment of the subject matter.  The two best segments are the bar brawl and the dance in an ultra-chic mod club.  TOKYO DRIFTER might offend some, for its political incorrectness (Caucasians are treated as bumbling idiots and women as pawns), and Suzuki does not care about a strong narrative either.  The result is a fun camp film, enjoyable undoubtedly, but with little substance.
(Screening: Saturday July 19th - 7 pm)

ZIGEUNERWEISEN (Japan 1980)
Directed by Seijun Suzuki
ZIGEUNERWEISEN is the title of Pablo de Sarasate’s haunting violin music piece that can be heard sporadically during Seijun Suzuki’s strange story about ghosts and the past.  The film concerns several ménage-a-trois, the most prominent being the one taking place with a professor of German, a drifter and beautiful woman who resembles a geisha that both knew.  Suzuki teases with the truth – with what may or may not happen, and even if the events did not, they would hardly affect the story as the characters would probably behave or act in the same way anyway.  Winner of the Japanese equivalent of the Academy award for best picture, this independent Japanese film goes in all directions and has art stamped all over it.  Ponderously slow at points but nevertheless occasionally interesting.

(Screening: Monday July 21st – 7 pm)