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MY JAPANESE CINEMA - PART 2 - The 1960 GREAT EXPECTATIONS

- 1960er Jahre -

ONNA GA KAIDAN WO AGARU TOKI 9/10
Mikio Naruse (1960)

Neben Mizoguchi ist Mikio Naruse der zweite große Frauenregisseur des klassischen japanischen Kinos. Häufig im Schatten der großen Meister vergessen, hat Naruse einige interessante Frauenportraits geschaffen. Sein bester Film, unter denen die ich gesehen habe, ist WHEN A WOMAN ASCENDS THE STAIRS , der vor allem durch seine großartige Hauptdarstellerin Hideko Takamine und die beeindruckende Kameraarbeit Masao Tamais glänzt. Atmosphärisch zählt der Film zu den intensivsten Frauendramen die ich kenne.

TANIN NO KAO - THE FACE OF ANOTHER 9,5/10
Hiroshi Teshigahara (1962)

Teshigahara sought in its relatively low total work is a collaboration with representatives of various avant-garde art at. This film is a fascinating example of this. Kobo Abe wrote the literary model. The artists created Tomio Miki ear prostheses. Toru Takemitsu wrote the score. The architect Arata Isozaki designed parts of the scenes in the doctor's office. After Sunnah NO ONNA my second favorite film of Teshigahara.

Sunnah NO ONNA - THE WOMAN IN DEN DÜNEN 10/10
Hiroshi Teshigahara (1964)

Ein surreales Meisterwerk, das mich immer wieder sprachlos macht! Wenn der Sand vom Wind und der avantgardistischen Musik Tōru Takemitsus getrieben wird, drohe ich in ihm zu versinken. Zeitloses Weltkino, das auch heute noch so frisch und stark wirkt wie am ersten Tag.

ONIBABA 9,5/10
Kaneto Shindō (1964)

Da werden Weiber zu Hyänen - Mit einfachsten Mitteln erschuf Shindō Kaneto eine strangely vibrant, sexually charged atmosphere in which merges the human with the reed jungle. The grueling filming prove, as in his film THE NAKED ISLAND that is possible with a small financial outlay is a masterpiece. A great sweaty film.

Kwaidan 8.5 / 10
Masaki Kobayashi (1964)

After collection of traditional Japanese ghost stories of the electoral Japanese Lafcadio Hearn, created Masaki Kobayashi a superbly stylized pictures orgy of an episodic film narrative but not all Segments is convincing. In particular, the impressive aesthetics of color and the dark atmosphere of the studio dense white ghost stories to inspire. I would particularly like to stress the episodes THE SNOW WOMAN and BLACK HAIR, which I regard as the most successful

Ansatsu -. assassination 9.5 / 10
Masahiro Shinoda (1964)

The end of the Tokugawa Shogunate - Japan is a political cauldron. Stylistically by a narrow margin my favorite non-Kurosawa-and a chambara absolute milestone of the genre. For a deeper understanding should be one of the pitfalls of the late eaten away by corruption Bakufu government and the virus-like in the 1860s are common among young samurai spreading reactionary revolutionary euphoria. Cinematograph is Shinoda's film is a feast for the eyes, the complex action required but more than a sighting

AKAH -. Rotbart 9,5 / 10
Akira Kurosawa (1965)

Rothbart is one of the often-forgotten masterpieces Kurosawa. An arrogant young doctor learns the Edo period, the model of grumpy clinic director Rotbart, what it means to be a real doctor. This medical ethics and human stories incorporating "hospital drama" Toshiro Mifune's last collaboration with Kurosawa. I love how the camera grain of the wood of the floors and support beams strokes, just great

Akai Tenshi -. RED ANGEL 9 / 10
Yasuzo Masumura (1966)

In my eyes, RED ANGEL Masumuras best and most important work. A great classic of the anti-war film, dancing on the razor blade between exploitation and artistic drama, without falling into the abyss. A young nurse is put on the Chinese front and experienced the horror of the hospitals, cut off limbs, brutalized by war, both mentally and physically crippled soldiers who perceive women only as a projection of their obsessions. A terribly beautiful film.

JOI-UCHI: HAIRYO Tsuma Shimatsu - SAMURAI REBELLION 9 / 10
Masaki Kobayashi (1967)

A proud samurai and his son are opposed to the inhumane orders of their daimyo, risking the bloody downfall of her family. Once again shines Toshiro Mifune in the next HARAKIRI main chambara Strip Kobayashi. Furious exploited the camera, the architecture of houses and gardens for his narration. In addition, the film offers some great sword fight choreography, so does the action and the friend to his right. A resoundingly bleak climax of the chambara genre.

BARA NO SORETSU - FUNERAL PARADE OF ROSES 9/10
Toshio Matsumoto (1969)

Ein avantgardistischer Experimentalfilm, der Spielszenen mit Interviewpassagen mischt und vor keiner noch so schrägen psychedelischen Einlage zurückschreckt. Ein wahrhaft orgiastischer visueller Rausch. Als heterosexueller Mann sollte man(n) jedoch, um diesen Trip in die Tokioer Schwulenszene genießen zu können, an keiner Homophobie leiden.