Die Tätowierung

'Irezumi (1966)' focuses on a young woman who is sold to a geisha house and forcibly tattooed with a grotesque arachnid across her entire back. Deciding not to let her circumstances decide her fate, she opts to embrace the golden orb spider inked into her skin and fully embody its almost otherworldly man-eating nature. With the power of manipulative seduction, she aims to devour every man she can sink her teeth into as a form of revenge for her situation. Unwillingly along for the ride is her fiancée, who is manipulated into serving as his wife-to-be's weapon despite the fact that it tears him apart. In fact, he's pretty much a tool right from the start, as he crumbles to the desires of his lover and buckles under the pressure of her threats, but he only starts to see it once it's too late. The picture is a depiction of a downward spiral, a tragic series of events that escalate into senseless violence and can only end in a similar way. It's also an examination of power within gender dynamics, as its hero is able to use the misogyny of the world around her to her advantage and successfully pull the strings of every single man she encounters. The lead isn't concerned with being likable, she's concerned with getting her own back; this makes for a compelling protagonist whose amorality is only offset by the constant ethical crisis voiced by her meek partner. It's somewhat unconventional in this way, although similar films - like 'Onibaba (1964)' - also reject the standard female stereotype in favour of more complex fare, and it's ultimately quite feminist considering when it was released. It's pretty compelling for its duration, even if it does hit a bit of a lull during its midsection. There are several striking scenes, including a handful of surprisingly brutal moments, and the cinematography is gorgeous throughout. The lead performance is suitably transfixing, too. Overall, this is a really solid thriller with a strong central dynamic and a distinct atmosphere.

Following the doomed and star-crossed love between the feisty daughter of a wealthy merchant and the timid clerk that works for her father, IREZUMI is cut from the mould of classic Shakespearean tragedy but with a distinctly Japanese spin. For reasons that elude me, the Japanese have taken quite an affection to their idea of the deceitful femme fatale, the "spider woman". Here the feisty daughter becomes one quite literally by having a grotesque "spider woman" tattooed by force on her back on orders of the pimp she's sold to. While her lover prowls the red districts of Yoshiwara looking for her, she leads a luxurious life as a geisha by scamming people off their money with her pimp as an accomplice.

Weaving together a typical revenge plot and the idea of psychosomatic auto-suggestion as the woman starts to believe that she's "really" a spider woman after being tattooed and urged by her pimp to leech money off her clients, director Masumura and writer Kaneto Shindo (who also scripted MANJI for Masumura and directed some very famous Japanese horror movies like ONIBABA and KURONEKO) create in IREZUMI a bold, beautiful, no-nonsense revenge drama that doesn't skimp on the violence. When people get killed, it's ugly and messy. When they don't, they weave around them webs of lies and deceit or find themselves caught in one.

Masumura's assured but laconic direction (no tracking shots, no moving cameras - his camera remains locked on a tripod with the occasional imperceptible pan) is a masterclass in miss-en-scene, careful framing and pacing a movie without calling attention to his work as director. Simply put, the guy knows how to take a great shot and he knows how to pile great shots one upon the other to make a great scene and he knows how to orchestrate his scenes to make a great movie that moves effortlessly from start to finish. Add to that the superb editing and some great acting by Ayako Wakao (gorgeous in the lead role) and you've got yourself a proper forgotten gem from the classic epoch of Japanese cinema. I'm looking forward to catching more of the director's work.

Most impressive bloody drama of operatic proportions. Doubly wronged our heroine ends up a geisha with a tarantula tattoo upon her back. Apparently the first part of the Japanese word for tarantula means prostitute and so she feels she has no alternative but to remain in the profession into which she was forced. What she can do though is take revenge and hey does she take revenge. This is beautifully photographed action all the way and it gets plenty bloody, with a wonderfully over the top ending that makes you want to stand and applaud. How much this is a tale of an exploited woman and that of a woman overcoming adversity will be up to each viewer to decide. Gentle eroticism is a bonus and if this is not quite as crazy as the same director's Blind Beast it is just as audacious. Bold, bright and beautiful.

This one is too well shot, stylized and acted to NOT be noticed. And, in all honesty, the main protagonist has all my sympathies because she's got guts, talent and EXTREME beauty (and I can't stress enough how beautiful the main actress is) while all the men around her are whimps at best or lurid, disgusting profiteers at worst of which the world would be better ridden off. If you love like I do dominant, strong women, go with it with no problems. You'll end loving the main character.

This film begins with an incredibly beautiful young woman by the name of "Otsuya" (Ayako Wakao) trying to convince a young man named "Shinsuke" (Akio Hasegawa) to quit his job working for her father so that the two of them can elope together and eventually get married. Although Shinsuke has grave concerns about leaving a good job and a boss who has been quite generous with him, he is easily seduced by Otsuya's charms and goes along with her in spite of it all. Having also stolen some money from her father, Otsuya and Shinsuke stay at an inn run by a man named "Kenji" (Fujio Suga) who is a business associate of the family. What neither of them know, however, is that Kenji has a hidden motive for allowing her stay to at the inn which soon comes to fruition when she is kidnapped and sold to a brothel in another city. But what Kenji doesn't quite fathom is that Otsuya is much more devious and resilient than anybody could ever conceive and that she is now determined to have her revenge on everybody involved with her abduction. Now rather than reveal any more I will just say that this was an extremely good film which was not only artistic in one sense but also had the advantage of featuring an incredibly talented actress like Ayako Wakao who dominated every scene she was in with her beauty and charm. And although there is quite a bit of sexual eroticism inherent within the plot the director (Yasuzo Masumura) uses a subtle technique which both stimulates the imagination and enhances the imagery. That being said, I thought that this was an excellent film and I have rated it accordingly.