Shinjû: Ten no Amijima

A mesmerizing film which asks deep questions about the role [or interplay] of fate and free will in human actions. The occasional appearance of hooded background figures and their actions, sometimes just to change the scenery, is done in such a casual manner that it underlines the view that we are not always in full command of what is perceived to be our reality. The ending is truly stunning. A one of a kind experience!

Based on a 18th century bunraku play (Japanese form of puppet theater) by Chikamatsu, Double Suicide revolves around the star-crossed love of paper merchant Jihei and courtesan Koharu. The problem in Jihei's case however is twofold. First he's a married man and second he can't afford to pay the brothel Koharu works in and redeem her. In the face of their unrequisite and impossible love, Jihei and Koharu decide to commit suicide together - the inevitably tragic conclusion the title refers to.

Double Suicide is a three-act filmed play but it's director Masahiro Shinoda's command of the craft that transforms it into something more. Since the original is a bunraku puppet play, he opens the film with modern bunraku actors preparing for it and after the credits sequence switches the puppets for real actors.

The puppet masters however remain present for the entire movie, dressed in black suits, looking all the same, mute and mostly motionless, like artificial props and part of the set decoration they're charged with changing. Indeed they remove and change sets, actively take part in the action and interact with the actors and even freeze narrative time for our convenience but the best part (and a testament to Shinoda's talent) is that they never call attention to themselves as a gimmick.

They blend seamlessly with the combination of traditional and abstract painted sets and there are times you forget they're even present in the scene until they move. What they do mostly however is observe. Shinoda's direction is as usual perfect - enhanced by Criterion's pristine transfer, Double Suicide is a feast for the eyes shot in stark black and white, where the black is black and the white is white.

Related to Shinoda's excellent directorial skills, a common conception about him is that he's a director easy to admire but hard to love. I think Double Suicide effectively combines the best of both worlds - the technical prowess of a master cinematician with a touching and tragic love story, with universal roots but a very traditionally Japanese approach - the conflict between duty (giri) and passion (ninjo).

In 18th Century in Japan, the paper merchant Jihei (Kichiemon Nakamura) falls in love for the courtesan Koharu (Shima Iwashita), but he can not afford to redeem her from her master and owner of the brothel, since he spent all his money in the place with Koharu. Jihei's wife Osan tries to keep her husband with his two children and asks Koharu to leave him. The two lovers make a pact of double suicide to escape from the rigid rules of the Japanese society of 1720 and stay together after death.

"Shinjû: Ten no Amijima" is an extremely original movie, based on a Japanese puppeteers theater (called "Bunraku") popular play by Monzaemon Chikamatsu. The Shakespearian story of an impossible love is theatrically performed, inclusive with the presence of the "kuragos", the puppet masters that conduct the puppets in the "Bunraku". Although being much related to Japanese culture, this movie is a great experience for those like me that have interest in other cultures. My vote is eight.

Title (Brazil): "Duplo Suicídio em Amijima" ("Double Suicide in Amikima")

Stemming from a Japanese puppet play from the 1700's, Double Suicide stands tall and beautiful as a new wave love story similar to that of "Romeo and Juliet" on the surface. Masahiro Shinoda takes some risky strides in his directing by utilizing a series of dark "puppet master" characters to linger in the majority of all scenes alluding to the story in its earliest form. This concept manages to workout wonderfully by some miracle and really compliments the thematic elements of the film as we watch the cast manipulate one another or "pull each other's strings." The performances are all stellar in this film as Shinoda makes sure to direct each to have a very vacant and detached approach to their roles allowing their characters to fall into the deceit of one another. Jihei, (Kichiemon Nakamura), is perfect in his dark conviction of his immoral affair with a 19 year old prostitute (Shima Iwashita), while still attempting to maintain a healthy relationship with his too-loyal wife Osan (also played by Shima Iwashita). Osan takes the feminist's nightmare role of a wife whom stands by her husband's side and is supportive of his every wrong-doing. The prostitute, Koharu, balances the relationship by playing the role of a friend to the wife and promising to end her affair while professing her never-ending love for Jihei when Osan is out of the picture. Everyone shares a shifting balance of power, control, and love for one another really adding up to the thrilling climax of this film.

Visually, this film is just as outstanding as is its narrative. The cinematographer plans his shots smart by finding the ideal balance for including the puppet masters in appropriate shots. This is a film full to the brim of wide and establishing shots with puppet masters cleverly tucked in the distant background of each frame opposed to using unnecessary close-ups. This is most similar to how puppet masters in the original puppet play productions would remain shielded in the darkness of the stage to remain being seen as little as possible.

Kichiemon Nakamura is a paper merchant, desperately in love with courtesan Shima Iwashita and she with him, but she has five years left on her contract and he does not have the money to free her from it. He is also married -- his wife is also played by Miss Iwashita, who is married to the director of the movie, Masahiro Shinoda -- and so they speak about killing themselves together. In the meantime, their love has become common gossip.

It's based on Chikamatsu Monzaemon's 1721 joruni puppet play THE LOVE SUICIDES AT ANIJIMAI; a live performance soon followed. Monzaemon (1653-1725) was the son of a masterless samurai. It is uncertain when he wrote the first of his more than 130 plays, but his earliest known credit was 1683's THE SOGA HEIRS. He wrote for puppet plays and, until the middle 1690s, kabuki. He is widely thought to be Japan's greatest playwright.

This production acknowledges both forms. The play starts in a theater, with a producer speaking of the problems; some mannequin heads bespeak of the puppet drama. The rest of the movie is kabuki-like, with artificial-looking sets and masked stagehands in black to move props around, follow the lovers as their go about the course of their tragedy, and aid in their suicide. Their presence in the cinematic medium, which usually stressed naturism, gives them a weird, demonic purpose as the executioners of fate.