Tag Archives: Kenji Sawada

APOCRYPHA CANDIDATE: YUMEJI (1991)

Weirdest!

DIRECTED BY:

FEATURING: , Tomoko Mariya, , Masumi Miyazaki, Reona Hirota

PLOT: A bohemian poet and painter travels to Kanagawa to wait for his ailing girlfriend, only to fall for an alluring widow while he’s there.

WHY IT MIGHT MAKE THE LIST: Seijun Suzuki, a defiantly unconventional filmmaker with a career’s worth of bizarre films already under his belt, threw himself into Yumeji like he was making his magnum opus of weirdness. There’s blood painted on to the screen, life coming alive as art, and opaque references to slaughterhouses and blood—the last of which would seem to have little to do with the film’s subject. For an artfully bizarre take on an era filled with strange contradictions and perversions, who better than Seijun Suzuki to take you there?

COMMENTS: Takehisa Yumeji was a real-life painter, whose individualist lifestyle and era-defining paintings made him an icon of Japan’s Taisho era (1914-26). The name Yumeji contains the Japanese word for “dream,” so it’s fitting that Yumeji begins with a dream sequence in tribute to its namesake. But if you were expecting Seijun Suzuki to make a conventional biopic, think again. Suzuki used the names of some of the real women in Yumeji’s life, including Hikono (Masumi Miyazaki) and Oyo (Reona Hirota), who seem to have been portrayed in keeping with their real-life counterparts. Apart from these details, Suzuki paid more attention to Yumeji’s artistic side, imagining his romantic escapades and artistic concepts manifested as life.

As in Kagero-za, Suzuki centers the film on an adulterous love triangle, with a mysteriously powerful husband constantly plotting the protagonist’s murder, even though he never gets around to actually carrying it out. However, not one to repeat himself, Suzuki upped the ante here by adding a second adulterous love triangle, wherein the cuckolded husband is said to have killed his rival by throwing him down the drainage pipe at the local slaughterhouse. The killer then hides out in the mountains, evading a relentless police search and creeping around with a scythe in a none too subtle evocation of the Grim Reaper. 

Always one to dabble in surrealism, Suzuki gave in to his urges completely in Yumeji, throwing in enough hallucinatory imagery to eclipse any other film in his storied career. Paintings appear on wooden posts when tapped, a woman is cooked in a huge soup kettle by a group of singing women, and a blond madman proposes a duel while standing next to a hedge made of bloody animal carcasses, later emerging from a lake covered in blood himself. Yumeji (Kenji Sawada) also suffers from a clash of personalities which eventually lead to an identity crisis reminiscent of The Blood of a Poet: he is confronted by multiple versions of himself, all of whom accuse him of being a fraud. His morbid paranoia, his womanizing lust, his poetic thought process—all come together to inform the mood of the film and create something which feels much more like a waking dream than a biographical story.

The two previous films in Suzuki’s Taisho Trilogy (Zigeunerweisen and Kagero-za) each have their fair share of beautiful imagery, but Yumeji is overflowing with countless compositions that are framed to mimic Japanese paintings of the past. At numerous points throughout, paint is even overlaid onto the frame, including a notable scene in which a bright yellow boat nearly capsizes in a torrent of cow’s blood that is dabbed in red blobs along the bottom of the frame. Yumeji is also more erotically-charged than its predecessors, with an earthy sense of sexuality and framings that look like they could have been pin-ups from1920s Tokyo, together with levels of nudity and lewd behavior that contradict the popular image of historical films as stuffy and mannered visions of the past.

It’s fitting that as Seijun Suzuki’s career progressed, his work became more artistically-focused and surreal. His early films, with their painterly attention to color and visual design, bear the marks of an unconventional artist who just happened to be tasked with making B-movies about thugs and prostitutes. In the Taisho Trilogy, Suzuki finally had free reign to make movies that eschewed storytelling and audience expectations in favor of surreal imagery, irreverent reflections on Japanese culture and history, and fractured narratives that often featured elements of the supernatural. Curiously, Yumeji is the least supernatural of the three films, yet the weirdest overall. Like the pornographic kimono that features in its nightmarish finale, it’s a period piece that represents the culture of its era while also adding surrealism, eroticism and mystery into its historical framework. Thanks to Arrow Films, these three little known films by one of the great Japanese surrealist masters are now ripe to be rediscovered in all of their bizarre, experimental glory.

WHAT THE CRITICS SAY:

“By the time the film was completed, the gonzo filmmaker had so thoroughly dispensed with narrative sanity and even basic filmic grammar that whether or not the subtitles are on becomes irrelevant.” – Fernando F. Croce, Slant Magazine

1*. THE HAPPINESS OF THE KATAKURIS (2001)

Katakuri-ke no kôfuku

DIRECTED BY:

FEATURING: , Keiko Matsuzaka, Shinji Takeda, Naomi Nishida,

PLOT: The Katakuri clan retires to a remote mountain area to run a bed and breakfast, but the place seems cursed, as every guest who stays there dies. The Katakuris try to cover up the deaths to avoid bad publicity, while frequently bursting into song and dance numbers.

Still from The Happiness of the Katakuris (2001)

BACKGROUND:

  • The Happiness of the Katakuris is actually a remake (some say a “very loose” remake) of a Jee-woon Kim’s (non-musical) Korean black comedy The Quiet Family.
  • Miike made Katakuris the same year as Visitor Q, an even blacker comedy which also deals with the theme of a “happy” Japanese family. Katakuris and Q were two of a remarkable eight movies the prolific auteur released in 2001.
  • The Happiness of the Katakuris received the highest number of total votes in 366 Weird Movies first Apocryphally Weird movie poll, making it arguably the most popular weird movie left off the 366 Weird Movies canon.

INDELIBLE IMAGE: We’ll have to go with that little claymation yōkai/imp that pops out of a random diner’s soup and falls in love with her heart-shaped uvula—with bizarrely comic results.

TWO WEIRD THINGS: Claymation infatuation; reanimated corpse song and dance

WHAT MAKES IT WEIRD: The Katakuri clan came about as close to making the List of the 366 Weirdest Movies Ever Made as possible; we held off honoring them partly because their movie, while weird indeed, was overlong and uneven, and partly because Takashi Miike was already well-represented with three Canonically Weird movies, and it was time to give someone else a shot. The movie’s inclusion on the secondary list of Apocrypha titles was assured, and it’s a highly appropriate choice for the inaugural title in our runners-up category.

Short clip from The Happiness of the Katakuris

COMMENTS: The Happiness of the Katakuris begins with a four-minute scene, which really has nothing to do with the rest of the Continue reading 1*. THE HAPPINESS OF THE KATAKURIS (2001)