Nastavio je suradnju s Abeom i Takemitsuom na ovoj prii o konfliktu s identitetom kod ovjeka koji nakon nesree dobije novo lice.Sansh day (1954) drama Feudalni Japan tijekom 11.
Plemeniti Taira Masauji (M. Shimizu) guverner je jedne japanske provincije, kojeg politiki protivnici zbog njegove blagosti i asnog odnosa prema seljacima. Ningen no jken (1959) drama, ratni In the World War II, the pacifist and humanist Japanese Kaji accepts to travel with his wife Michiko to the tiny Manchurian village Loh Hu Liong to work as supervisor in an iron ore mine to avoid to. Shijin no shgai (1974) animirani, kratki A cautionary tale about workers who are neglected, lose hope, and fade away while businessmen prosper by selling out to foreign countries. Okuyama, after being burned and disfigured in an industrial accident and estranged from his family and friends, agrees to his psychiatrists radical new experiment: a face transplant, created from the mould of a stranger. As Okuyama is thus further alienated from the strange world around him, he finds himself giving in to his darker temptations. ![]() We will use your information to send email updates including newsletters, special offers and more. ![]() But after a bit of bad luck, he joins the towns population of lost souls. While one of them is having an affair with their neighbor, the other woman meets a mysterious samurai wearing a bizarre mask. Contradictory evidence and the lack of clues soon render the case as virtually unsolvable, as the detective grows more and more frustrated. Soon they reappear as vengeful ghosts who seduce and brutally murder the passing samurai. Soon after being fitted for the mask, he attempts to seduce his wife and succeeds. But his wife claims she was aware all along who he was and believed that both were just masquerading together as men and women do in different ways. Strangely enough, his personality seemingly begins to change after he puts on the mask as if the mask has influenced his personality. His new identity does not enable him to reintegrate into society after all. A good-natured young woman, the right side of whose face is disfigured, has been hurt by others inquisitive eyes and insults, and has been shunned by men. She asks her older brother, the only man who understands her pain and solitude, to make love to her, hiding from him the intent of killing herself afterwards. Just there is a mask you can peel off and another you can not. Ten Little Indians (uncredited) Traditional American melody See more. After an industrial accident at work, his face has been scarred and mutilated beyond recognition, and even his wife rejects him, even though she says his physical appearance doesnt matter. It has left him bitter and angry, until his psychiatrist Dr. Hira (Mikijiro Hira) comes up with a way to fashion a face mask that will give him the appearance of having a completely normal face, albeit with a few joining marks. Hira doesnt do this just out of kindness, he is fascinated how this new face will alter Okuyamas personality and way of life. The Face of Another is a fascinating film that highlights the social attitudes to physical appearance. There are hundreds of films and morality tales that teach you that it is inner beauty that counts, and once you allow this to shine then your physical attractiveness becomes irrelevant. Everyone knows that this is bullshit, so its refreshing to see a film that makes it clear from the outset that physical appearance has a massive part to play in society. Okuyamas new face, which is an attractive one, changes him so much that he takes on an almost dual identity. Dr. Hira delights in telling him that he has bought flashy new clothes, something he was never concerned with before. It becomes clear that whilst before Okuyama merely wanted to be normal again and fit back in society, his new face is engulfing him, and to be normal simply isnt enough anymore. Tanin No Kao 1966 Movie That IsAs with many of the Japanese New Wave film-makers of the 1960s-70s, director Hiroshi Teshigahara takes some bold steps and sneaks in some surrealist and art-house values in a movie that is otherwise played relatively straight. A fictional character appears every now and then throughout (she is first imagined by Okuyamas wife as a character in a movie); one side of her face is scarred and burned. She appears quite rarely, but seems to serve as an alternative to Okuyamas increasingly vain soul.
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