Description

Kwaidan is an engrossing masterpiece of four nightmarish tales in which terror thrives and demons lurk.Throughout each tale, director Masaki Kobayashi's handsomely conceived imagery conveys a sensual quality that immerses the viewer deep in the spiritual world.Combining visually stunning effects with beautiful use of color, Kobayashi has created a supernatural experience beyond the imagination. ... Read more

Reviews (38)

One of the greatest fims of all time.
This film is so utterly magnificent, it's on eof the greatest films of all time. It has the most gorgeous art work, dream-like visuals, color photography I've ever seen in film. This is based on tales by Lafcadio Hearn. A bizzare, eerie and horrifying musical score by Toru Takemitsu works exellently with the beautiful visuals. This video also has a gorgeous color Cinemascope widescreen presentation. The first tale Black Hair, is a bit slow, but's it's so worth it in the unbelievable horror climax. The second tale, Woman in the Snow, is one of the best and most beautiful in the whole film. Masaki Kobayashi uses just all white during the blizzard sequinces with some blood reds, lush greens, dream like blues, and odd purples. The third story, Hoichi, the Earless, begins with one of the most beautiful scenes in the film. An epic sea battle between the Heikie and Genji clans. This scene feautures all kinds of bizzare and beautiful colors including a firey red sky. The rest of the film concerns a young blind man's horrifying ordeal with ghosts. I can see some references to this segment in Akira Kurosawa's Ran. The final segment is called In a Cup of Tea and is the weakest. It's too short, and too fast moving. It does feature lots of gorgeous visuals to make up for it. I recommend this film to anyone, if you haven't seen this film. CLICK BUY RIGHT NOW!

The Greatest "Art House" Horror Film
"Kwaidan" is a cinematic masterpiece of the horror genre which, unfortunately, is not nearly as well known to genre fans as it should be. In my view it ranks with Werner Herzog's 1979 re-make of "Nosferatu" as the finest horror film ever made in color. Part of the reason for "Kwaidan"'s obscurity is its national origin (though, strangely enough, the Japanese folktales which form its basis were written by an American expatriate, Lafcadio Hearn). Yet even in Japan, the film was a commercial flop, despite superlatives from critics. More likely, the obscurity of "Kwaidan" derives from its artistry; viewers who come to it for the first time will probably be only marginally aware that they're seeing horror at all. Search in vain for gore and special effects; the film almost recalls Val Lewton's old classics in its reliance on suggestion. As an anthology, moreover, "Kwaidan" is in the same league as the 1946 British film, "Dead of Night," except that it has no over-arching "frame" device to tie the stories together. All four films which make it up are essentially revenge plots: simple and straightforward, like most folktales, though I would like to mention a personal favorite: "Yuki-Onna," whose surrealist account of a female vampire awed me with its weird snow-scapes and eerie soundtrack. By all means, see "Kwaidan" if you have any curiosity at all about horror as viewed through the lens of an artistic master; I only wish American directors had a comparable interest in quality.

Masterful work!
Anthology of ghost stories adapted from Lafcadio Hearn , American writer who lived in Japan .
Visually stunning.
The third chapter is the best. It turns around a poet who must create a epic poem about an ancient battle dictated for the leader of this dead regiment, killed in action, who emerges from the ashes to find out someone who reminds always the echoes of that bloody combat.
Extraordinary!

Ok, I always get sucked into these ghost stories
Lesson 1, always look at the date of the movie and then read the premise. I always read the premise, get the movie and then once it's in, realize that it's more of a Sinbad Saturday Afternoon movie then the Sixth Sense. The last story was cool about the boy who is on the cover but the rest are boring.
Rent-Maybe
Buy-No

Four Japanese Ghost Stories
Kwaidan, though it has some flaws in regard to pacing (it moves just too slowly sometimes) is a visually striking, very colorful film that is a pleasure to look at. This print is crystal clear and very sharp; Criterion usually does a good job in that sense.
Surprisingly, these traditional Japanese ghost tales very much resemble the classic English ghost stories of writers like J.S. Le Fanu or M.R. James--more subtlety, less bombast, working by suggestion and atmosphere. Don't expect a whiz-bang, fast-paced film with a lot of shocks. It's a slow, quiet film.
In my opinion, the two best stories are the first two, "The Black Hair" (reminiscent of Faulkner's "A Rose for Emily") and "The Woman in the Snow" (something like Algernon Blackwood's "The Wendigo"). ... Read more

Reviews (8)

a very young work
This is a film that shows the potential of Shohei Imamura, but im afraid it does not fulfill it. The film trys to hard to be arty:the jump cuts and "creative" camera movement serve only to confuse and alienate the viewer.

Imamura is a master film maker, and this isnt a horrible film, but if you want to see his best, get "the Eel" or "warm water under a red bridge"

Quaint and Silly.
There is a case for decrepit cinematic 'crud' being universal. This is it. Get Ozu's "Tokyo Story" instead (out on Criterion). That is a piece of timeless lyrical cinema. This film merely confirms that risque cinema quickly loses its potency (losing it in favour of a ephemeral revolutionary stance). A Waste.

More fun than I ever expected...
The Pornographers explores fetishism and unusual sexual arrangements with the bravado of a contemporary film designed to titillate the jaded bourgeoisie at Cannes, albeit with significantly less nudity. It's real, quirky, humorous, and it has a heart - in addition to dealing thoughtfully with the racy topics at hand. Even the choppily edited dream sequences seem to add to rather than detract from the overall experience.

An artful and engaging piece of cinema far ahead of its time.

NO SKIN FLICK
Love'em or hate 'em, idiosyncratic films that dabble with subversive notions and stories of fringe people make some viewers uncomfortable. You either get it or not. For those who do, there are rewards.

Shohei Imamura's THE PORNOGRAPHERS (Home Vision Entertainment) is about "public service" amateur porn filmmaker Subu. He supports and sleeps with landlady Haru, who thinks her disapproving dead husband has returned as a carp. But really, Sabu lusts after Haru's daughter. Voyeurism and incest is kinky comic fodder for Imamura, who said he's interested in "lower human society and the lower parts of the human body." Not for every taste, but way ahead of it's time. If you liked this one, see if you can find "Down and Dirty."

I did not get it
I had to watch this in a class. I thought this was one of the worst movies ever. The movie was over long. I guess i'm just a dumb college student but i did not get this movie at all. The weird camera work made the movie even more confuseing. Like the shot looking though a fish bowl. The move seems to be about and old pervert that likes to make porn and try to sleep with his girlfriends daughter. Then he becomes frustrated with women and trys to desgin the perfect doll, i got this part of the movie and it was down right discusting and i'm not a partically moral person. I hated every minute of this movie, don't waste your time or money its long borring and discusting. sorry for the misspellings and bad grammar ... Read more

Reviews (1)

Watch at least twice
This is a very good film Kon Ichikawa based on the famous novel in Japan. ("Kagi" by Jun-ichiro Tanizaki.) The story is about odd relationships with old connoisseur of classic arts, his faithful and attractive wife, his daughter and daughter's fiancé. Basically, Ichikawa's films are visually very artistic and enjoyable. (Another examples, Actor's revenge, Tokyo Olympiad) Combinations of beautiful cinema photography with very weird characters are so impressive. Since this film is so visually artistic, if you have to depend on subtitles you will miss a lot of great artistic atmosphere. (Probably, that's why critics did not give great reviews for Ichikawa's films.) To enjoy the film you have watch it at least twice. Don't try to understand at once. First time, read subtitles to understand the concept of the story. Second time, ignore subtitles as much as possible and enjoy the beautiful cinema photography and story. If you watch it more, it will be better. One critical point of this VIDEO (not film), subtitles are missing in very very important scene of the movie. But still enjoyable. ... Read more

Description

A sensuous and arresting use of color, set design, and wide screen cinematography create four heart-pounding ghost stories from Masaki Kobayashi (Harikari, Samurai Rebellion), one of Japan's most stylized filmmakers.Each lyrical vignette is intensely composed in the style of an ancient scroll painting, but it's the tone emanating from the editing, eerie soundscape, and the characters' mythical nature that make Kwaidan a truly haunting experience.Winner of the International Jury Prize at Cannes in 1965, the film has since become a cult classic on home video.If there were ever instructions assigned to watching at home, Kwaidan's would read 'best when viewed alone, late at night, in the dark.' ... Read more

Reviews (38)

One of the greatest fims of all time.
This film is so utterly magnificent, it's on eof the greatest films of all time. It has the most gorgeous art work, dream-like visuals, color photography I've ever seen in film. This is based on tales by Lafcadio Hearn. A bizzare, eerie and horrifying musical score by Toru Takemitsu works exellently with the beautiful visuals. This video also has a gorgeous color Cinemascope widescreen presentation. The first tale Black Hair, is a bit slow, but's it's so worth it in the unbelievable horror climax. The second tale, Woman in the Snow, is one of the best and most beautiful in the whole film. Masaki Kobayashi uses just all white during the blizzard sequinces with some blood reds, lush greens, dream like blues, and odd purples. The third story, Hoichi, the Earless, begins with one of the most beautiful scenes in the film. An epic sea battle between the Heikie and Genji clans. This scene feautures all kinds of bizzare and beautiful colors including a firey red sky. The rest of the film concerns a young blind man's horrifying ordeal with ghosts. I can see some references to this segment in Akira Kurosawa's Ran. The final segment is called In a Cup of Tea and is the weakest. It's too short, and too fast moving. It does feature lots of gorgeous visuals to make up for it. I recommend this film to anyone, if you haven't seen this film. CLICK BUY RIGHT NOW!

The Greatest "Art House" Horror Film
"Kwaidan" is a cinematic masterpiece of the horror genre which, unfortunately, is not nearly as well known to genre fans as it should be. In my view it ranks with Werner Herzog's 1979 re-make of "Nosferatu" as the finest horror film ever made in color. Part of the reason for "Kwaidan"'s obscurity is its national origin (though, strangely enough, the Japanese folktales which form its basis were written by an American expatriate, Lafcadio Hearn). Yet even in Japan, the film was a commercial flop, despite superlatives from critics. More likely, the obscurity of "Kwaidan" derives from its artistry; viewers who come to it for the first time will probably be only marginally aware that they're seeing horror at all. Search in vain for gore and special effects; the film almost recalls Val Lewton's old classics in its reliance on suggestion. As an anthology, moreover, "Kwaidan" is in the same league as the 1946 British film, "Dead of Night," except that it has no over-arching "frame" device to tie the stories together. All four films which make it up are essentially revenge plots: simple and straightforward, like most folktales, though I would like to mention a personal favorite: "Yuki-Onna," whose surrealist account of a female vampire awed me with its weird snow-scapes and eerie soundtrack. By all means, see "Kwaidan" if you have any curiosity at all about horror as viewed through the lens of an artistic master; I only wish American directors had a comparable interest in quality.

Masterful work!
Anthology of ghost stories adapted from Lafcadio Hearn , American writer who lived in Japan .
Visually stunning.
The third chapter is the best. It turns around a poet who must create a epic poem about an ancient battle dictated for the leader of this dead regiment, killed in action, who emerges from the ashes to find out someone who reminds always the echoes of that bloody combat.
Extraordinary!

Ok, I always get sucked into these ghost stories
Lesson 1, always look at the date of the movie and then read the premise. I always read the premise, get the movie and then once it's in, realize that it's more of a Sinbad Saturday Afternoon movie then the Sixth Sense. The last story was cool about the boy who is on the cover but the rest are boring.
Rent-Maybe
Buy-No

Four Japanese Ghost Stories
Kwaidan, though it has some flaws in regard to pacing (it moves just too slowly sometimes) is a visually striking, very colorful film that is a pleasure to look at. This print is crystal clear and very sharp; Criterion usually does a good job in that sense.
Surprisingly, these traditional Japanese ghost tales very much resemble the classic English ghost stories of writers like J.S. Le Fanu or M.R. James--more subtlety, less bombast, working by suggestion and atmosphere. Don't expect a whiz-bang, fast-paced film with a lot of shocks. It's a slow, quiet film.
In my opinion, the two best stories are the first two, "The Black Hair" (reminiscent of Faulkner's "A Rose for Emily") and "The Woman in the Snow" (something like Algernon Blackwood's "The Wendigo"). ... Read more

Reviews (2)

"Camp"--the pursuit of style
If film is about the pursuit of style, Ichikawa Kon does the best. From one scene to another, Kon demonstrates that the pleasure of movie does not lie in "content," but the stylish movement.

Kon experiments this philosophy in his other films, such as "The Tokyo Olympiad" (a documentary of the Tokyo Olympics in 1964) and "The Makioka Sisters."

It's truly a shame that this VHS version is out of print. Someone MUST release this film on DVD.

Entertaining
The greatest difficulty for the viewer is in deciding how to take this film. The story at its most basic is this: a kabuki actor famed for playing women finds the three men who drove his father to madness and his mother to suicide. Bent on revenge he takes advantage of the love of the daughter of one of these men and turns the men against eachother until, in the end all three are dead as is the daughter. Having never wanted to have taken this revenge and grieved at the death of the daughter, the actor leaves and is never seen again. However we are not meant to be emotionally rapt through all of this. There is a backing cast of wacky and sometimes noble characters, mostly theives, that bring a great bit of light humour into the mix. As it is, we must take it as neither drama nor comedy, but something approximating both. It is no masterpiece of cinema, but it ends up being a very enjoyable film to watch. The lighting and cinematographical technique used throughout is very impressive. It creates a dramatic setting similar to the stage on kabuki company performs their fanciful dramas. This film too is another fanciful production. ... Read more

Reviews (4)

Maintaining dignity amid adversity
Like fellow film director Kenji Mizoguchi, Mikio Naruse often portrayed the plight of women in Japanese society. This movie is about a senior hostess at a Ginza bar who tries to gracefully fend off the unwanted advances of customers. Everyone seems to want her for one reason or another; either they want her body, or in the case of her family, they want her money. Her life is one emotional betrayal after another. But through it all, she tries to maintain her dignity. And she manages to persevere. In the movie, there is the recurring image of her ascending the stairs to the bar where she works. "After it gets dark," she says, "I have to climb the stairs, and that's what I hate. But once I'm up, I can take whatever happens."

This is a movie about courage and the triumph of the human spirit amid adversity. Hideko Takamine, who plays the bar hostess, is one of Japan's greatest actresses. Sadly, only a handful of her movies have made it to America. She gives one of her best performances in this film.

Very disappointed
This movie is slow at best and is done at a junior high school drama level.How it ever got A GOOD review i'll never know.
There is barely enough story to make a story, let alone a movie.
I will certainly be more selective of my foreign films in the future........

an unheralded masterpiece
one of mikio naruse's last masterpieces was 1960's "when a woman ascends the stairs" - it is also one of only two of the great director's films currently available in any video format in the u.s. but wow, what an introduction it is! this seemingly modest film about a woman on the edge of a precipice, winding her way through dismal back alleys and cheap bars in search of an out is one of the great character pieces in world cinema. crisply shot in black and white widescreen (which is admirably reproduced in this edition), this beautifully directed and acted film is an absolute must for anyone interested in movies. the sadness lies in the knowledge that this kind of film is not made anymore; there's no one talented enough to pull it off nearly as well. class and subtlety are a rare commodity and this film has just the right amount of both. it's perfect, one of the greatest films of all time, one i come back to again and again.

An Unjustly Neglected Master
When a Woman Ascends the Stairs is not one of Mikio Naruse's best films, but it is quite good enough to show anyone unfamiliar with his work what a sensitive and uncompromising filmmaker he is. Just as Ozu devoted most of his work to the disintegration of the Japanese family, Naruse concentrated almost invariably on the lives of women in Japanese society. His films are often sad and his 'endings' are somewhat less than uplifting, but when you watch, in When a Woman Ascends the Stairs, his heroine (played beautifully by Hideko Takamine) betrayed by the men she turns to for help and/or salvation, it becomes clear that Naruse was a great director - not as versatile as Mizoguchi, but unjustly neglected. ... Read more

Reviews (13)

Kurosawa at his best
This adaptation of Gorky's play "the Lower Depths" by the master director Akira Kurosawa is quite a labyrinth. Each player has a path to follow, a fate that binds. Just as the dying woman is inexorably bound towards death, the tinker, thief, geisha, gambler, samurai, and pilgrim all are caught in a chillingly hopeless web of life and death. Outwardly we see the bottom dwellers, society's dregs from post feudal Japan. Yet the poverty of the individuals is really a portrayal of the poverty of the spirit of Modern Life. The lack of connection to spirit condemns them and us to a life and death of mindless work, escapist illusion, apathetic indifference to other's suffering, and the selfishness and hopelessness of the narcissist.

Kurosawa's adaptation of Gorky's "the Lower Depths" is brilliant. Kurosawa used the same group of actors for most of his Toho era films. He insisted on the most incredible attention to detail in his sets and costumes. He required this from the actors as well. His invisible presence is everywhere in the film. He brought out the best in the actors, set designers, writers, and camera operators. The attention to detail from beginning to end is awe-inspiring. That the movie is in Japanese is both a blessing and a curse. Since few of us understand Japanese, many of the nuances of the language are lost on us and we are at the mercy of the translators. On the other hand, the separation of the emotional quality of the actors voices from the meaning of the words adds a depth to the play.

One could go into the different lives of the various characters, but this is best left to the viewer. Now that Kurosawa's movies are available on video tape and DVD, we can see them from a more personal level. Again this gain is offset by the loss of not seeing his movies on the big screen. Still I find a deeper understanding of Kurosawa emerges from the multiple viewings of his movies. Years ago when I saw his movies in the theaters, I bought a book on Kurosawa's movies. This helped me to see more into the depths of Kurosawa's psyche, but now that I can view his master works more carefully I get a better understanding and deeper appreciation of these great works of art.

The Lower Depths: A Little Known Masterpiece
Although not well known, this film shines as bright as any of Kurosawa's other works. The Lower Depths is the story of a group of people who all share the same living quarters in the slums of Japan. Everyone suffers greatly until a travelling old man comes and turns their world upside down. This film is spectacularly filmed. Most of the action takes place in a single room giving the viewer the sense of entrapment experienced by the individuals in the film. Mifune's appearence in this film is unparalled as the thief tortured by love and the hell of his existance. The Lower Depths is a film of great suffering and through this suffering finds the joy possible in the human heart. Often times Kurosawa is critisized by individuals for the light-hearted approach he takes to this film. However this light-nature is exactly what he was trying to show. This film is definitly worth checking out. This video will please film buffs as well as anyone familiar with the original Maxim Gorky play.

Two Terrific Adaptations of Gorky's Lower Depths...
LOWER DEPTHS (1936) by Jeam Renoir

Lower Depths is an intricate story of poverty and those who fall into the deepest of socioeconomic despair based on the writer Maxim Gorky's play with the same name. The story takes place in the outskirts of Paris in a poorhouse where Pépel (Jean Gabin), a thief, is planning a raiding. Pépel is having an affair, which he tries to break off, with Vassilissa (Suzy Prim), the proprietor's wife, as he has come to realize that he loves Natacha (Junie Astor), Vassilissa's sister. This provides much intrigue as Vassilissa wants her husband dead because she wants to leave the poorhouse.

Gambling has driven the Baron (Louis Jouvet) to poverty and he has lost his administrative position at the ministry due to theft to cover for his gambling debts. When the Baron arrives home suicidal from one last disastrous gamble he searches for his gun in desperation. Instead the Baron discovers that he has a guest, Pépel, with whom the Baron builds a friendship as they spend the night chatting and playing cards. During the night Pépel finds out that creditors are about to repossess the Baron's mansion and the Baron is only a night away from same living conditions as Pépel.

The majority of the story takes place at the poorhouse where a number of interesting characters provide much insight into how people end up in the lower depths of society. Renoir's adaptation of the Lower Depths was thoroughly appreciated by Gorky as Renoir concentrated on how people shift social class either up or down. This focus is enhanced by the cast with the exception of Junie Astor whose face remains as motionless as a dusty bust when she is in focus of the camera. Renoir's Lower Depths offers a terrific cinematic experience that leaves the audience with notions of social injustice and blissful love.

LOWER DEPTHS (1957) by Akira Kurosawa

When Akira Kurosawa decided to adapt Gorky's Lower Depths to the silver screen he had already seen Jean Renoir's version of the film. Renoir was a film director whose cinematic genius Kurosawa genuinely admired as he later wrote in regards to Renoir, "...I would like to grow old in the same way he did." Kurosawa's direction of Lower Depth has the same intricate story of poverty and those who have fallen into the deepest of socioeconomic despair as Renoir's adaptation. However, unlike Renoir, Kurosawa grabs the cinematic moment in the initial scene where he pans the camera 360 degrees from within a massive hole displaying the upper edge of the abyss. This leaves a visual imprint in the mind which haunts the audience with the dread of falling into the abyss, which Renoir did not accomplish in his film as it had a different motive to tell the story.

The story takes place in a poorhouse that lays in the bottom of the large hole, which is confused by people of high social status as a garbage dump. In the poorhouse there are a number of different characters such as Sutekichi the thief (Toshirô Mifune), Osugi the landlady, Okayo Osugi's sister, Rokubei Osugi's older husband, a former samurai, a prostitute, a craftsman, an actor, a priest, and a gambler among others. They complain about their struggles, get drunk, sing, gamble, and share their hopes as they share a roof together. Through their daily activities the character's different persona's emerge as they tell stories of their past, or dreams that they have to be above the pit in which they now live.

Kurosawa's Lower Depths never leaves the pit in which the poorhouse exists as it instills an enhanced feeling of hopelessness, which lends support to the empathy that the audience builds for the desperation that the characters must feel. This desperate atmosphere is well-balanced by the priest that arrives to the poorhouse as he offers hope for those in need of it. The function of desperation and hope becomes a double edge sword that could inflict harm to those who use the two without care. Through Kurosawa's cinematic brilliance, desperation and hope are visualized and leave the audience with an excellent cinematic experience, which stimulates reflection in regards to the theme.

CRITERION --
does a wonderful job putting both of these cinematic geniuses in the same dvd case as both films are excellent in their own way. In addition, Criterion submits both with interesting extras that will enlighten the audience of both adaptations of Gorky's play. This in an essential piece of cinema that is a must for anyone who loves cinema.

Renoir & Kurosawa
How can you go wrong with Renoir and Kurosawa? The Criterion Collection does its usual amazing work on this release. It combines two different looks at Gorky's play by two of the world's greatest filmmakers. The booklet is informative and well presented. The DVD itself features two very nice transfers -- the Renoir is especially nice considering the age of the original film. The only question for the buyer is do you place it next to Ikiru and Rashomon? or next to Rules of the Game and Grand Illusion? (Make sure you have all of them, of course.)

Kurosawa classic
Based on Gorky's play, set in Japan's Edo period, a group of what would be homeless people with little education, little hope of jobs, on the fringe of society, survive. Clearly delineated characters and ensemble acting give us insight into another place and time to open our horizons. Alcoholism, lack of adequate nutrition, cruel weather conditions, all contribute to the overwrought emotions of these societal-fringe humans. ... Read more

Reviews (8)

a very young work
This is a film that shows the potential of Shohei Imamura, but im afraid it does not fulfill it. The film trys to hard to be arty:the jump cuts and "creative" camera movement serve only to confuse and alienate the viewer.

Imamura is a master film maker, and this isnt a horrible film, but if you want to see his best, get "the Eel" or "warm water under a red bridge"

Quaint and Silly.
There is a case for decrepit cinematic 'crud' being universal. This is it. Get Ozu's "Tokyo Story" instead (out on Criterion). That is a piece of timeless lyrical cinema. This film merely confirms that risque cinema quickly loses its potency (losing it in favour of a ephemeral revolutionary stance). A Waste.

More fun than I ever expected...
The Pornographers explores fetishism and unusual sexual arrangements with the bravado of a contemporary film designed to titillate the jaded bourgeoisie at Cannes, albeit with significantly less nudity. It's real, quirky, humorous, and it has a heart - in addition to dealing thoughtfully with the racy topics at hand. Even the choppily edited dream sequences seem to add to rather than detract from the overall experience.

An artful and engaging piece of cinema far ahead of its time.

NO SKIN FLICK
Love'em or hate 'em, idiosyncratic films that dabble with subversive notions and stories of fringe people make some viewers uncomfortable. You either get it or not. For those who do, there are rewards.

Shohei Imamura's THE PORNOGRAPHERS (Home Vision Entertainment) is about "public service" amateur porn filmmaker Subu. He supports and sleeps with landlady Haru, who thinks her disapproving dead husband has returned as a carp. But really, Sabu lusts after Haru's daughter. Voyeurism and incest is kinky comic fodder for Imamura, who said he's interested in "lower human society and the lower parts of the human body." Not for every taste, but way ahead of it's time. If you liked this one, see if you can find "Down and Dirty."

I did not get it
I had to watch this in a class. I thought this was one of the worst movies ever. The movie was over long. I guess i'm just a dumb college student but i did not get this movie at all. The weird camera work made the movie even more confuseing. Like the shot looking though a fish bowl. The move seems to be about and old pervert that likes to make porn and try to sleep with his girlfriends daughter. Then he becomes frustrated with women and trys to desgin the perfect doll, i got this part of the movie and it was down right discusting and i'm not a partically moral person. I hated every minute of this movie, don't waste your time or money its long borring and discusting. sorry for the misspellings and bad grammar ... Read more

Reviews (6)

A Gem
A true family movie about a bad father coming back to save his son from the temptations of this world. It has beautiful photography and the story is very realistic and touching.

The Quiet, Usual Ozu Masterpiece
I have only really discovered Ozu in the last year or so and in my mid-- life it is like entering a bright new world. I have recently watched Floating Weeds for the second time (having ordered it on video). The first time I thought it an unusual film- though not one of his best. I have now completely revised this opinion and consider it a supreme masterpiece. Ozu astonishes with a quiet directness I find moving , completely absorbing and exhilarating to watch. I realize the theatre troup which comes into the town, contstructs its little Kabuki world and then fades into nothing is a perfect vehicle and symbol for what Ozu is consistently portraying in all his little plays: the transient , troubling beauty of the world . The transient troubling little dramas af human relationships.The imagery in all Ozu's films(but somehow epsecially this one) make me see images as I did in childhood : a turned corner on a side street, a scene of a harbor at dusk, a slightly surprised look on the face of middle-aged woman. Many of these movies were filmed when I was a child but I believe there is more than a kind odd 1950's familiarity. There is a kind of direct , unfettered appeal to sensations it is almost difficult to name. Something immediately
innocent and guileless in ourselves. Something always,already seeing and awake. The more I watch Ozu the more I see this and nowhere more than in this film. I kept chuckling at little, scene after little scene. Tiny little nuanced moments I kept rewinding to see if I'd really seen . Anyone who hasn't seen this film: Don't just watch it once.

One of Ozu's best
This movie is actually a re-make of a silent film (Story of Floating Weeds) Ozu directed in the 1930's. The 1959 version has both sound and color. It was a collaboration between two studios, Shochiku (Ozu's film company) and Daiei. This was a rare chance for Ozu to work with Daiei's great cinematographer Kazuo Miyagawa, the man who filmed such classics as Ugetsu and Rashomon. The Daiei studio also provided some of the leading ladies of their time, Machiko Kyo and Ayako Wakao.

The acting in this movie is first-rate and the cinematography is lyrical and beautiful. Pay attention to the rich colors in this film, especially the reds. The movie tells the story of a failing troupe of Kabuki players who drift (like floating weeds) into a fishing village for their next (and ultimately last) set of performances. As the movie progresses, we learn more about the characters and their many personality flaws. But these flaws only serve to make the characters more endearing, perhaps because we can see a little of ourselves and the people we know.

Many Westerners will prefer other Ozu films like Tokyo Story or Late Spring. But make no mistake; Floating Weeds is one of Ozu's best. The acting, story-telling and cinematography in this movie all combine to create a movie classic.

MASTERPIECE
This is one of Ozu's most poignant and beautiful films. He is a master of the light touch, with slow, lyrical camera work and a story that takes its time to unfold. Terrence Malick might well have learned to tell his film stories from Ozu, who always allows the film to reveal itself at its own pace, which is neither frantic nor tedious--just natural. We can also learn a great deal about human relations, Japanese society and the world of traveling players. A brilliant film in every sense.

Quietly Powerful, Beautiful Filmmaking!!!
The films of Yasujiro Ozu always has a silent poignancy that has been unmatched in cinema. He is the creator of his own cinematic 'style'. It consists of low camera angles, no close-ups, no camera movement, the camera stays still. Probably the most quietly precise director of foreign cinema, he is know as the most 'Japanese' director of Japan's filmmakers. In this film he tells the story of an acting troupe who come to a small fishing town. To reveal more of the plot would be to deny you the dramatic impact of the film. While certainly not a technical marvel, it's raw power to move us remains untouched, and even more because of Ozu's direction. As we see the film evolve we feel him slowly coming toward us, but he doesn't creep at us, he puts his friendly hand on our shoulder and makes us feel comfortable. This film is a perfect introduction into Ozu's work, but also stands well by itself. From a scale of 1-10 I give this film a 9! ... Read more

Reviews (1)

Watch at least twice
This is a very good film Kon Ichikawa based on the famous novel in Japan. ("Kagi" by Jun-ichiro Tanizaki.) The story is about odd relationships with old connoisseur of classic arts, his faithful and attractive wife, his daughter and daughter's fiancé. Basically, Ichikawa's films are visually very artistic and enjoyable. (Another examples, Actor's revenge, Tokyo Olympiad) Combinations of beautiful cinema photography with very weird characters are so impressive. Since this film is so visually artistic, if you have to depend on subtitles you will miss a lot of great artistic atmosphere. (Probably, that's why critics did not give great reviews for Ichikawa's films.) To enjoy the film you have watch it at least twice. Don't try to understand at once. First time, read subtitles to understand the concept of the story. Second time, ignore subtitles as much as possible and enjoy the beautiful cinema photography and story. If you watch it more, it will be better. One critical point of this VIDEO (not film), subtitles are missing in very very important scene of the movie. But still enjoyable. ... Read more

Reviews (13)

Kurosawa at his best
This adaptation of Gorky's play "the Lower Depths" by the master director Akira Kurosawa is quite a labyrinth. Each player has a path to follow, a fate that binds. Just as the dying woman is inexorably bound towards death, the tinker, thief, geisha, gambler, samurai, and pilgrim all are caught in a chillingly hopeless web of life and death. Outwardly we see the bottom dwellers, society's dregs from post feudal Japan. Yet the poverty of the individuals is really a portrayal of the poverty of the spirit of Modern Life. The lack of connection to spirit condemns them and us to a life and death of mindless work, escapist illusion, apathetic indifference to other's suffering, and the selfishness and hopelessness of the narcissist.

Kurosawa's adaptation of Gorky's "the Lower Depths" is brilliant. Kurosawa used the same group of actors for most of his Toho era films. He insisted on the most incredible attention to detail in his sets and costumes. He required this from the actors as well. His invisible presence is everywhere in the film. He brought out the best in the actors, set designers, writers, and camera operators. The attention to detail from beginning to end is awe-inspiring. That the movie is in Japanese is both a blessing and a curse. Since few of us understand Japanese, many of the nuances of the language are lost on us and we are at the mercy of the translators. On the other hand, the separation of the emotional quality of the actors voices from the meaning of the words adds a depth to the play.

One could go into the different lives of the various characters, but this is best left to the viewer. Now that Kurosawa's movies are available on video tape and DVD, we can see them from a more personal level. Again this gain is offset by the loss of not seeing his movies on the big screen. Still I find a deeper understanding of Kurosawa emerges from the multiple viewings of his movies. Years ago when I saw his movies in the theaters, I bought a book on Kurosawa's movies. This helped me to see more into the depths of Kurosawa's psyche, but now that I can view his master works more carefully I get a better understanding and deeper appreciation of these great works of art.

The Lower Depths: A Little Known Masterpiece
Although not well known, this film shines as bright as any of Kurosawa's other works. The Lower Depths is the story of a group of people who all share the same living quarters in the slums of Japan. Everyone suffers greatly until a travelling old man comes and turns their world upside down. This film is spectacularly filmed. Most of the action takes place in a single room giving the viewer the sense of entrapment experienced by the individuals in the film. Mifune's appearence in this film is unparalled as the thief tortured by love and the hell of his existance. The Lower Depths is a film of great suffering and through this suffering finds the joy possible in the human heart. Often times Kurosawa is critisized by individuals for the light-hearted approach he takes to this film. However this light-nature is exactly what he was trying to show. This film is definitly worth checking out. This video will please film buffs as well as anyone familiar with the original Maxim Gorky play.

Two Terrific Adaptations of Gorky's Lower Depths...
LOWER DEPTHS (1936) by Jeam Renoir

Lower Depths is an intricate story of poverty and those who fall into the deepest of socioeconomic despair based on the writer Maxim Gorky's play with the same name. The story takes place in the outskirts of Paris in a poorhouse where Pépel (Jean Gabin), a thief, is planning a raiding. Pépel is having an affair, which he tries to break off, with Vassilissa (Suzy Prim), the proprietor's wife, as he has come to realize that he loves Natacha (Junie Astor), Vassilissa's sister. This provides much intrigue as Vassilissa wants her husband dead because she wants to leave the poorhouse.

Gambling has driven the Baron (Louis Jouvet) to poverty and he has lost his administrative position at the ministry due to theft to cover for his gambling debts. When the Baron arrives home suicidal from one last disastrous gamble he searches for his gun in desperation. Instead the Baron discovers that he has a guest, Pépel, with whom the Baron builds a friendship as they spend the night chatting and playing cards. During the night Pépel finds out that creditors are about to repossess the Baron's mansion and the Baron is only a night away from same living conditions as Pépel.

The majority of the story takes place at the poorhouse where a number of interesting characters provide much insight into how people end up in the lower depths of society. Renoir's adaptation of the Lower Depths was thoroughly appreciated by Gorky as Renoir concentrated on how people shift social class either up or down. This focus is enhanced by the cast with the exception of Junie Astor whose face remains as motionless as a dusty bust when she is in focus of the camera. Renoir's Lower Depths offers a terrific cinematic experience that leaves the audience with notions of social injustice and blissful love.

LOWER DEPTHS (1957) by Akira Kurosawa

When Akira Kurosawa decided to adapt Gorky's Lower Depths to the silver screen he had already seen Jean Renoir's version of the film. Renoir was a film director whose cinematic genius Kurosawa genuinely admired as he later wrote in regards to Renoir, "...I would like to grow old in the same way he did." Kurosawa's direction of Lower Depth has the same intricate story of poverty and those who have fallen into the deepest of socioeconomic despair as Renoir's adaptation. However, unlike Renoir, Kurosawa grabs the cinematic moment in the initial scene where he pans the camera 360 degrees from within a massive hole displaying the upper edge of the abyss. This leaves a visual imprint in the mind which haunts the audience with the dread of falling into the abyss, which Renoir did not accomplish in his film as it had a different motive to tell the story.

The story takes place in a poorhouse that lays in the bottom of the large hole, which is confused by people of high social status as a garbage dump. In the poorhouse there are a number of different characters such as Sutekichi the thief (Toshirô Mifune), Osugi the landlady, Okayo Osugi's sister, Rokubei Osugi's older husband, a former samurai, a prostitute, a craftsman, an actor, a priest, and a gambler among others. They complain about their struggles, get drunk, sing, gamble, and share their hopes as they share a roof together. Through their daily activities the character's different persona's emerge as they tell stories of their past, or dreams that they have to be above the pit in which they now live.

Kurosawa's Lower Depths never leaves the pit in which the poorhouse exists as it instills an enhanced feeling of hopelessness, which lends support to the empathy that the audience builds for the desperation that the characters must feel. This desperate atmosphere is well-balanced by the priest that arrives to the poorhouse as he offers hope for those in need of it. The function of desperation and hope becomes a double edge sword that could inflict harm to those who use the two without care. Through Kurosawa's cinematic brilliance, desperation and hope are visualized and leave the audience with an excellent cinematic experience, which stimulates reflection in regards to the theme.

CRITERION --
does a wonderful job putting both of these cinematic geniuses in the same dvd case as both films are excellent in their own way. In addition, Criterion submits both with interesting extras that will enlighten the audience of both adaptations of Gorky's play. This in an essential piece of cinema that is a must for anyone who loves cinema.

Renoir & Kurosawa
How can you go wrong with Renoir and Kurosawa? The Criterion Collection does its usual amazing work on this release. It combines two different looks at Gorky's play by two of the world's greatest filmmakers. The booklet is informative and well presented. The DVD itself features two very nice transfers -- the Renoir is especially nice considering the age of the original film. The only question for the buyer is do you place it next to Ikiru and Rashomon? or next to Rules of the Game and Grand Illusion? (Make sure you have all of them, of course.)

Kurosawa classic
Based on Gorky's play, set in Japan's Edo period, a group of what would be homeless people with little education, little hope of jobs, on the fringe of society, survive. Clearly delineated characters and ensemble acting give us insight into another place and time to open our horizons. Alcoholism, lack of adequate nutrition, cruel weather conditions, all contribute to the overwrought emotions of these societal-fringe humans. ... Read more