564 Pale Flower

[zeroism]

Received this yesterday - the transfer is a revelation! Can't imagine it looking much better. The extras offer adequate cultural/historical context for the film, with insight into the various angles of allegory it takes. The selected scene commentary is a bit redundant in places, repeating some of what Shinoda says in his interview, but overall it's quite a useful and informative addition, especially for anyone interested in Takemitsu's working methods (especially those who haven't seen 'Music For The Movies: Toru Takemitsu'), or those interested in experimental music/musique concrete in general. I'd say the extras are quite adequate - I can't imagine there being much more material available to add. Perhaps a full commentary focusing more broadly would have been nice, but as it is, I see nothing to complain about.

(Incidentally, according to Shinoda, the hanafuda cards used in the film are made of thick paper.)

[Michael Kerpan]

(Incidentally, according to Shinoda, the hanafuda cards used in the film are made of thick paper.)

Thanks for helping to resolve this pressing question. ;~}

[zeroism]

Yes, but we're still left with no clue as to which company manufactured them. Why Criterion failed to ask him to elaborate on that is beyond me.

[Michael Kerpan]

Yes, but we're still left with no clue as to which company manufactured them. Why Criterion failed to ask him to elaborate on that is beyond me.

Believe it or not -- probably (almost surely?) Nintendo -- the leading (and one of the oldest, if not the oldestsurviving) company making such cards.

[daniel p]

I have a technical question; I noticed in the most overblown whites a hint of purple, and I wondered if this might be a fault of my plasma being set too contrasty, or a lemon disc? I assume the former, but I have never noticed this in any other films I have watched, particularly B&W where the colour would be more obvious. The film is very contrasty, strong lighting etc. but I was distracted quite a few times by a hint of purple.

But wow, great film! Not what I had expected, although I hadn't read up much on the film prior to viewing to be honest. The penultimate scene was just beautiful, and I loved the photography and score. And I am now in love with Mariko Kaga!

This was my 3rd Shinoda behind Double Suicide and Samurai Spy, and he seems like another brilliant Japanese filmmaker to discover - which other films of his are as essential as Pale Flower and Double Suicide?

[knives]

The films that MOC has released are also essential. Silence will blow your mind in a way very different from the criterion released films.

[bunuelian]

Egads, what a fun, stylish movie this is. This film is a great example of what gets me hot n' heavy about 1960's filmmaking. Tense, gritty, risky, sexy and with a brilliant score that makes a great background even with the images turned off - though why you'd turn off these images is beyond me.

I've decided to get rolling on the Japanese New Wave in earnest, and this was a hell of a way to get me excited.

[triodelover]

This was my 3rd Shinoda behind Double Suicide and Samurai Spy, and he seems like another brilliant Japanese filmmaker to discover - which other films of his are as essential as Pale Flower and Double Suicide?

To what knives said, I would add Shokei no Shima (aka Captive's Island; Punishment Island) and Sakura no mori no mankai no shita (Under the Blossoming Cherry Trees). Both are available in English-friendly editions with excellent transfers from Yes Asia and Amazon.co.jp.. Amazon Japan will be cheaper even with shipping, especially since Sakura no mori no mankai no shita is marked down. They'll deduct VAT, but shipping will be around ¥2300 for two discs. But if you're in the States you'll have them in two days.

(DVD Beaver review and another of Sakura no mori no mankai no shita; Amazon links: Shokei no Shima; Sakura no mori no mankai no shita)

edit: And now I notice you're in Oz, so probably even more quickly but shipping appears to be ¥300 more - ¥2000 base charge, ¥300 per item.

[Wu.Qinghua]

I guess most people won't grant 'essential viewing status' to Shinoda's late film 'Spy Sorge. But I found this one to be a well-researched, very sincere, rather interesting and sometimes even moving historical portrait of the communist/soviet intelligence operations in Japan during the 1930/40s and, of course, of its representatives, Otsumi Ozaki and Richard Sorge, portraying them as memorable examples for today's audiences ...

[zeroism]

This was my 3rd Shinoda behind Double Suicide and Samurai Spy, and he seems like another brilliant Japanese filmmaker to discover - which other films of his are as essential as Pale Flower and Double Suicide?

Assassination is the perfect companion to Pale Flower, with many similar political and existential themes explored, but transposed onto the Bakumatsu (end of the Shogunate) period, using real historical figures and events as a canvas, as well as having a similar Wellesian style, or one even moreso with its flashback structure and expressive camera work. The MoC release is superb, including a substantial booklet providing much-needed historical context.

[daniel p]

Great, thanks for the recommendations, I have some shopping to do!

The 2 MoC releases were in my sights at one stage or another, I had forgotten they were Shinoda. From what I remember The Silence seemed a bit unusual, but both looked interesting. The other 2 look interesting too. Thanks!

[domino harvey]

In light of all the great sixties Japanese cinema Criterion has been releasing in the last couple years, I was left fairly underwhelmed by this one. I thought the film's great strength was in its early extended sequences of gambling, where the nature of each game has to be sussed out by the viewer via repetition and context clues-- it's clever, but less-so is the noir-ish plot, particularly in dealing with the protagonist's gamble-happy femme. There's a pretty ho-hum been there feel to the actual mechanics of the film, and I didn't walk away with any particularly gripping questions posed by the film. I had one for it, though. To paraphrase the protagonist's closing monolog: who cares what this film is? Not sure why this merited a mainline Blu while superior films were relegated to Eclipse, other than that it was already an hVe title

[Tribe]

I'm surprised this didn't do it for you, Domino. I find it to be as noir as they come with very intense performances. Sure, it's an exercise in nihilism...but I think it's one of the better exercises down a black hole I've seen.

[Murdoch]

For me, the dream sequence shot - and really the sequence as a whole - with Muraki opening the door where he appears in silhouette, is one of the most captivating shots in cinema history. That was one of the few times I've said "holy shit" aloud not because of what was happening in terms of narrative, but because of how a scene was filmed. To be honest, though, I would have loved the movie just because of Mariko Kaga's haunting stare.

[Tommaso]

To be honest, though, I would have loved the movie just because of Mariko Kaga's haunting stare.

Indeed, one of the most beautiful actresses that ever graced the Japanese screen. And perhaps this 'haunting stare' is one of the keys to the film (if a key is needed). This is very much a film of 'impressions', almost meditative for lack of a better word, with very little actual action going on or that action being of little importance. All the suspense that the film has - and I find it totally gripping - comes from the extended moments of pure atmosphere, not just the gambling scenes, but also the ominous clocks in the shop or the scenes in the car. It really drew me in, although or even because little is actually 'explained', and it's not important to have any explanation. The motivations of the characters seem solely to come from some dark inner impulse perfectly expressed by Takemitsu's amazing score.

In this respect, I'm quite happy with the explanations on the selected scene commentary, but surely the film would have deserved a full-length one dealing with further aspects of the film and especially of the careers of both the two main actors and the director.

[Steven H]

I agree wholeheartedly, Tommaso. It is really difficult for me to pinpoint why I love this film as much as I do. It just works so well for me. I guess I'll take a quick stab at theme. The film manages to convey the weight of Muraki's failed life, surrounded by darkness, failed relationships, hypocrisy, cheap friends, and just a pure gloomy dread. The music adds this dreamlike quality to the film, which makes me feel like there is never any closure, just a sort of weightlessness that's still grounded in an intense noir drama. I think because Saeko is so beautiful (and weird and rich, maybe) Muraki thinks that she is some kind of angel that's meant just for him. Even though he doesn't show it outwardly, his biggest fear is that she's dirtied by anything in that world other than gambling which he loves (is this obvious? a weak metaphor? I guess). The film can be read many ways, I think. You could see it as an example of neo-noir capitalizing on the influence of existentialism in that genre, with the violence, stylization and music balancing out the earnestness of that high concept. I think you can also read it as an "anti-sun-tribe" film, as it takes every youth it sees and grinds them into the ground instead of showing their carefree spirit as something new and exciting. etc.

Some of the bits may not have aged well. Of course I love both of these aspects, but the dream sequence might be a little over the top, and the Ave Maria scene might be hammy to some people. I still revisit this film at least once a year and find new little things or ways of seeing it to enjoy. I also find that just about everyone I show it to really likes it and I can't say that about much of the older Japanese stuff, period.

I was very happy with all the attention paid to the score on this DVD. It's something that never fails to get to me. Another thing that I was thinking about the last time I watched it, the two older yakuza leaders, Eijirô Tôno & Seiji Miyaguchi, have such perfect chemistry when they're onscreen. Appreciating their roles is just icing on the cake.

[Tommaso]

I think because Saeko is so beautiful (and weird and rich, maybe) Muraki thinks that she is some kind of angel that's meant just for him. Even though he doesn't show it outwardly, his biggest fear is that she's dirtied by anything in that world other than gambling which he loves (is this obvious? a weak metaphor? I guess).

I'd rather say that he sees in her something like a kindred spirit. It's not even a love affair, strictly speaking. Both of them are aimlessly drifting, and if he was afraid of her being dirtied he wouldn't probably bring her along to the final killing. Existentialism is indeed a good comparison or starting point. As both their lives seems aimless, gambling and killing are just additional thrills which help for a moment to cover the meaninglessness of the world, and while it seems Muraki is aware of this, he nevertheless does it because not doing it would be equally meaningless. His approach is cold and 'objective', so to speak, which is why he can 'glide' through this world with so much style (the man is not only handsome, but also dresses impeccably). There is a lot of irreality to all this, probably a result of their unconnectedness with their surroundings.

SpoilerShow

The final message about Saeko's death that Muraki receives while in jail again is the only moment in which there seems to be an indication of some real emotional involvement, but as there's no explanation given about what exactly happened to Saeko, this only furthers the general feeling of meaninglessness. An absence like a black hole.

[Steven H]

As both their lives seems aimless, gambling and killing are just additional thrills which help for a moment to cover the meaninglessness of the world, and while it seems Muraki is aware of this, he nevertheless does it because not doing it would be equally meaningless.

That fits much more nicely than my take for the most part. I do think that Muraki shows some intense feeling of protection for Saeko during the dream sequence. The film's cheesiest moment is probably the posterized image of Saeko in some drugged sex with the Chinese hitman. If she is a kindred spirit I think that Muraki has a complicated mix of emotions concerning this attraction. He seems a little confused, very excited, protective, but also yes cold and ambivalent. I don't think their relationship is meant to be straightforward, and when their eyes meet in that Ave Maria scene, I think the viewer is supposed to take that time to really try and digest all the levels of meaning there might be imbued there, even with the characters' limited history. It's really a very affecting moment.

I also want to bring up his "old lady" who he just takes advantage of or at least takes for granted (and what is with the clocks? did Kiss Me Deadly or Raw Deal screen in Japan before they made this?). In that relationship he's cold but bored and the woman is pretty much everything Saeko is not, both for the film in general and for Muraki. I think that she's an important contrast.

[Steven H]

Would this be an appropriate place to discuss the incredible bounty of Shinoda films appearing under the Criterion Hulu banner, or should that discussion ("discussion" or at least "gushing") stay under the Hulu thread (which seems better focused on announcements)? The bevy of Shinoda being released on the site was the impetus for me to start tossing $7.99 a month their way (though I did end up falling in love with Community because of it as well, heh).

Relating this to Pale Flower, I think A Flame at the Pier (as Criterion is calling it, but for the longest time I knew it as Tears on the Lion's Mane) is in some ways a sister film to Shinoda's 1964 film we know and love. It shares a starlet, though the character couldn't be more different. In Flame..., Kaga is heavily invested in family whereas in Pale Flower her character sees family as separate or at least unrelated to her real self, desires, or needs. Both are similarly reserved in their sexuality, yet for different reasons. In Flame... Kaga's Yuki seems chaste because of not wanting to delve too deeply into the ugly world that Fujiki's gangly (yet clearly doomed in that classically noir fashion) Saburo represents. In Pale Flower Saeko seems untouchable, but probably because her lust is tied up with her attraction to danger. Muraki might strike her as too tame.

Both films have a younger male being introduced to a complex and hypocritical underworld through a simulated father figure, though this relationship is more of a focal point in Flame... but only part of a larger story in Pale Flower. I feel that the earlier film has a few moments that reach the same heights of Pale Flower, such as the scene on the docks where Saburo is chased by thugs. The audio effects blend in to the soundtrack during this scene in a way that reminds me of some of the stranger, quieter scenes in Pale Flower. I believe Flame... represents similar political sentiments as well, with elite "yakuza" being contrasted with the poorer rank and file (however, with Flame... you have dock workers and in Pale Flower you have criminals, or wannabe criminals).

While the hokey (yet lovable, if you ask me) use of pop music in Flame... puts it squarely in the realm of the early 60s Japan noir genre (a world of Elvis / James Dean mashups), it still packs a punch and is more than worth seeing if you enjoy Pale Flower.

[The Doogster]

I just saw Pale Flower for the first time. All I can saw is WOW. This movie really should be more well known. Everything about it is uber-noir - its cinematography, music, the nihilism of its protagonists. Just when I thought there were no more great movies left to discover, it's nice to find something of this calibre.

The one thing I noticed, and that no-one else has commented on, is just how influential this movie's style and music was on Stanley Kubrick. Check out the first scene (to 2:30) on this Youtube clip.

That entire scene, from the slow-mo effects, the doors opening, looking through the window, and the music, all ended up in The Shining. The Shining is one of my favourite movies from a stylistic point of view, so I have to confess I'm now a little less enamoured with Kubrick and Wendy Carlos.

[Mr Sausage]

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[DarkImbecile]

I haven't seen this in nearly a decade now, but when I first watched it I remember that it felt notably different from the other mid-century Japanese crime films I'd seen — moodier, more atmospheric, its characters inexplicably doomed without moralizing, political significance, or even clearly discernible motive. For everything I've seen since, I'm not sure that sense of separateness has changed much, even as I've seen films I liked more; the blend of bleak nihilism and cooly restrained sexiness remains distinct from both more straightforward crime thrillers and the more surreal and heightened films of the same era like Branded to Kill or Pleasures of the Flesh. Perhaps this speaks to my bias toward the French and American films of this decade (with which Pale Flower seems to share more DNA with than most of its Japanese contemporaries), but something about the way Shinoda keeps things generally grounded while also indulging in idiosyncrasies like the mysteriousness of Saeko's motives and identity or sensational sequences like the climactic stabbing really worked for me, and has lingered in my memory for years.

I'm tempted to rewatch it to see if my admittedly hazy regard holds up, but I've still got such a substantial backlog of unseen 1960s films to work through that I'm not sure I'll be able to offer more coherent thoughts before the end of its time as a Film Club selection, so I wanted to make sure I at least threw out some brief, half-remembered praise for it while I have the chance.