Zerbrechliches Schicksal

There's a lot to like about this film, mostly because of the beautiful cinematography and the picturesque Japanese countryside. The unraveling of the police investigation of the central murder has interesting moments, but by the end it becomes too strung-out and torturous. The last 45 minutes or so had me tapping my toes waiting for it to end, as every plot point and every shot was prolonged far past the limits of my patience.

Lovers of classical music will be amused by what passes for the output of the "genius" composer. While composing in the early stages in his home at the piano, he plays quite awful nightclub music. It would never get him an invitation to perform with the New York Philharmonic, as the plot requires. In the last section, with him performing on stage, intercut with scenes of the police concluding their investigation, he plays a pretty forgettable late-Romantic piano concerto, apparently written by a real Japanese composer, Yasushi Akutagawa.

One thing to beware of with this police procedural is that it's 143 minutes and very drawn out. Director Yoshitaro Nomura has a tendency to explain everything, such as the logistics of the cops as they travel around rural parts of Japan, which he does frequently via words on the screen, to the cops re-stating things that we've already seen or figured out. Also, while there is value to understanding just how much leg work goes into solving a crime, there were times I thought it was overdone, or at least, that the "slow burn" payoff better be high.

Mercifully, the beautiful cinematography offsets some of the issues with pace. Nomura often zooms out back from his characters to show not just wonderful scenery, but I think also to give us a sense for how small these lives are in the grand scheme of things. The past has a tendency to be quickly forgotten by the world, as if it were swallowed up in forests humming with loud insects, but not by individuals. No matter how successful someone may become, no matter the number of years that have gone by, the past is always with us, and trauma can come bubbling to the surface in a heartbeat. This is the main payoff to the film, not a surprise twist in the murder mystery itself, which never really has more than one suspect. There is real emotional power in seeing how the past fits together and affects people in the present. Nomura unveils this quite well via flashbacks set not to dialogue, but soaring music, and the result is a feeling of empathy for a callous man who has killed the kindest of persons. It's melodramatic for sure, but enlightened at the same time.

This movie has three stories which are skillfully merged together at the end. One story is about a determined detective who is searching for a murderer. The second story is about a composer with social aspirations who is preparing to perform the debut of his piano concerto. I won't spoil it by describing the third story which is a flashback 30 years into the past. The third story has very little dialog and shows what silent movie fans have always known: you don't need much dialog to tell a good story.

The English subtitling on the dvd version I saw is not great, but passable. As a minor quibble, the subtitles are not present to translate written documents when a newspaper article or arrest warrant is shown on the screen.

There are some nice visual scenes which are quite effective. I last saw this movie in the 1970's and although I forgot the movie title, I never forgot the scene where the two detectives ride silently on their way to arrest the murderer. When I viewed this movie again recently, I was surprised to see how brief this scene actually is.

I just saw this movie for the first time last night at the Japanese Film Festival held in Melbourne. It was a re-mastered print and on the huge screen it was magnificent. The flashback scenes with the father and son set to the stunning musical score seemed like a completely different movie to what had preceded. But to me, final scenes are important - a skillful movie ending turns a good film into a great film. A bad ending turns an average to good film into a piece of rubbish. As far as Castle of Sand is concerned, what started out as an interesting detective story ended as a sweeping piece which left me walking out of the cinema thinking "That was incredible!!".

Japanese cinema rarely fails to impress me. I keep discovering more and more gems, usually from years gone by when I was too young to experience them at the time.

I saw "The Castle of Sand" at a Japanese Film Festival this year in Sydney, and I must say that I'm surprised that this movie isn't better known as it's so beautifully made and incredibly moving...It's one of those near-perfect gems that are few and far between. It's a fairly long movie at nearly 2.5 hours, but the movie is one that draws you in very quickly and keeps you wondering up until the very end.

The plot centres around the mysterious murder of Miki, a retired policeman in his 60's who was well-liked by pretty much everyone who knew him for his kindness and integrity. Two detectives, one a rookie and one fairly older, are assigned to the case and what at first seems like three unrelated stories slowly weave together to reveal the reasons and the person behind Miki's death. Even if you're not a fan of foreign movies, "The Castle of Sand" is still definitely worth a watch.