Desfile fúnebre de rosas

If you really are looking for a good time in a movie theatre - watch this movie ! It has been said that some of Kubrick's visual and sonic ideas for "Clockwork Orange" were inspired by this movie; after having seen it, i'm more than convinced that this is true.

This movie offers a lot of cinematic ideas and it uses surprising ways to make a point within a story.

What is the reason that films with a spirit and mood like that have vanished from the screen ? Have the politics in the movie industry really become so strict ? This movie watched nowadays has (but maybe had always) a subversive feel to it, why is that ?

It definitely offers something different and therefore would be very welcome in movie theatres and videostores around the world to free us from all the uninspired formula movies.

This is a movie that was made in the late '60s, early '70s period of Japan when Japan influenced by the Hippie culture was experimenting with their own brand of Avant Garde culture that was sometimes called "Angura". This is shortened Japanese pronunciation for "Underground". As the word suggests, these were experimental non-mainstream production that explored much about free sex, and anti establishment view of the world.

Gay culture was almost never picked up in Japanese movie up to this point, and it was first public exposure to the literally underground culture of the society at that time. This movie was also the debut for Pita or Shinnosuke Ikehata as Eddie. He has become somewhat of an icon for gay culture in Japan, but this movie was actually the first time he appeared as gay in public, and prior to that, he was only known as a beautiful boy dancer. His father was a natori of Japanese dance school, and he is a trained dancer himself.

Producers of this movie auditioned over 100 candidates, but couldn't find the right talent. Novel writer Tsutomu Minakami told the producers about "this boy" who was a go go dancer at a club in Roppongi. When the producers went to the club, and met the then 16 year old Ikehata, they knew they had the right person. Ikehata had a nick name Pita from Peter Pan, as he was so beautiful, and it was difficult to tell if he was a boy or a girl.

Story is bit convoluted, Eddie, who is the top host at the club Junne has intimate relation with the club's owner Gonda (Yoshio Tsuchiya). When the madam of the club Leda discovers this, he goes into a jealous frenzy, and tries to hurt Eddie. Eddie gets an idea to kill Leda, but that also brought back his suppressed memory of killing his own mother. Leda makes an attempt on Eddie's beauty by trying to cut his face, but fails. Gonda dumps Leda, and Leda commits suicide. But Gonda finds out the real truth about the relation between himself and Eddie.

The production of this movie is above average for avant garde movies made during this period. There's humor, talent, interesting point of view, and a real story. This is one of must see movies to come out of Japan.

An all-night Italian TV program entitled "Fuori Orario" - which translates to "After Hours" - comprised of back-to-back films of all genres, nationalities and vintage, and hosted by an eccentric highbrow critic named Enrico Ghezzi - has for years been the fount of several interesting titles which, if it hadn't been for him, I would never have heard of, let alone watched (though I'd say that about a third of the alarming 500+ still-unwatched films I own on VHS are culled from that program!).

Anyway, FUNERAL PARADE OF ROSES is one such example: when I learned it was scheduled to be shown, I made a cursory search via the Internet about the film and, from the little I found, I singled it out as one to record. However, I didn't watch it immediately (mainly because, unfortunately, the tape I used for the recording was some 20 years old and still has a habit of halting playback automatically and subsequently refusing to load!; in fact, a couple of weeks back I lost two early Shohei Imamura films I unwisely taped on a similarly fragile VHS) but, since that time, I've come across a few more references to Matsumoto's film - most recently its being announced as a forthcoming Region 2 DVD release from the impressive "Masters Of Cinema" label - which have only intrigued me even more. Then, yesterday, as I was listening to Tony Rayns' Audio Commentary for Hiroshi Teshigahara's unusual debut PITFALL (1962) - incidentally a Eureka/MoC edition - he mentioned the film once again (and, perhaps unwittingly, proceeded to give away the devastating plot twist at the film's conclusion!) in the context of its similarly unconventional nature. So, this time, I decided not only to watch FUNERAL PARADE OF ROSES at long last - whatever the condition of the tape which, fortuitously, turned out to be not too bad - but, being in something of an art-house/Asian cinema vein, I made a whole list of (mostly just as obscure) titles to follow...

Now, after this long-winded introduction, let's get down to the business at hand: a potentially off-putting subject matter (the trials and tribulations of a community of transvestites) is transformed by the writer-director's aggressively experimental style, drawing on the contemporary free-form technique of European films rather than the cinematic conventions which are traditionally Japanese. In fact, the narrative (if it can even be called that, in view of its many flashbacks, flash-forwards and repeated actions) is frequently interrupted by having the cast sit down for interviews being filmed by a TV crew; interestingly, Ingmar Bergman's contemporaneous THE PASSION OF ANNA (1969) used a similarly unique device to "explain" his characters' motivations, as it were. Despite its generally serious tone, seemingly a requisite for an art-house film, FUNERAL PARADE OF ROSES is not devoid of humor or, at the very least, a distinct sense of the absurd: the catfight scenes between the "women" are shot in accelerated motion - a technique allegedly borrowed from this film by Stanley Kubrick for A CLOCKWORK ORANGE (1971)!; the scene of a trio of transvestites taking a leak in a men's lavatory (much to the consternation of those present); the linking image of a line-up of naked men with one of them having a rose firmly planted between his butt-cheeks; a revolutionary hippie named Guebara having a sneezing fit in extreme close-up; and the moment during one of the pauses for interviews when a crew member slinks past the camera filming the actor playing the man pretending to be a woman (are you confused yet?) holding a dead rat by the tail! With regards to Peter, the lead actor (who, amazingly, later turned up as The Fool in RAN [1985], Kurosawa's masterful adaptation of Shakespeare's "King Lear"), I have to say that he makes for a very convincing female impersonator - to the point where, if it weren't for his clearly masculine voice, one forgets that he's actually watching a man in drag! The love scenes (which, thankfully, aren't very explicit) are sensitively handled and, in general, the film doesn't sentimentalize the gay community - nor does it criticize the drug scene which seems to be as much a part of their lifestyle as anything else. As I said earlier, I knew of the film's reversal of Greek tragedy at the climax from Tony Rayns' commentary for PITFALL but, given its complex structure, I was still blown away by the revelation which, in turn, leads to an extremely violent ending that is not easily forgotten. By the way, I found the brownish hue of the black-and-white cinematography to be an interesting touch: I don't know if this was done intentionally, or whether it was just a feature of the print I happened to watch - but, at this juncture, I think I'd be somewhat disappointed if this unique "dirty" look were missing from the film once the upcoming DVD is released (perhaps anyone who might own the Japanese disc could chime in about this?)...

FUNERAL PARADE OF ROSES was, by all accounts, an remarkable debut feature for Toshio Matsumoto; he followed it with only 3 more films but, from the little I've read about them, they sound interesting too and well worth seeking out (so far they have only been available as part of a Japanese Limited Edition Box Set, though not all the films feature English subtitles!).

An unsettling and astonishing Japanese film that introduced me to the Japanese New Wave movement.

"Funeral Parade of Roses," like many of the best works of art, defies description or categorization. It dives into the Japanese gay sub-culture of the 1960s, and specifically young gay men who dress and act like women. It blurs the line between fact and fiction; at times, the actors in the movie become actors in a movie within the movie, and the movie itself becomes a documentary about the making of a movie about gay Japanese youths. If you can follow that sentence, then you're on the way to having the right sensibility to enjoy this film.

It's a shocking movie too, going places most other films at the time, and certainly few American movies, would dare. The only big American movie I can think of from that time period that comes even close to tackling subjects that general audiences would find equally unsavory is "Midnight Cowboy," and this film makes that one look like a Doris Day romp in comparison.

Grade: A

A pretty unique film, one which represents transvestite characters in an adaptation of a classical Greek story, executed in a new wave film style. It's a lot, and there were times while watching it that I thought director Toshio Matsumoto was trying to do just a little too much. If you're wondering a bit during silly scenes like the joint being passed around, or what the point of all those butts are, one sporting a protruding rose, well, I would just say 'bare' with it, because it pulls together well over the back half. The lead character, Eddie (short for Oedipus, get it?), is striking, and frankly I thought Peter was a big part of what made the film successful.

The film felt a little close to making this culture a part of a carnival, e.g. with fight scenes given to us in fast motion and with circus music, and when the interviewer asks questions of characters/actors in condescending ways. There are gay sex scenes which seems quite daring for the period, though Matsumoto seems to want to reassure us that nothing's actually happening by suddenly showing the film crew around the actors, and how the whole thing is just being simulated. I worried a little bit that the culture was just being used for shock value along with the new wave style, and compounded by the perversion of the original story.

However, overall I think we see a sympathetic humanization here, something that's pretty amazing for 1969. The characters suffer the pangs of love and jealousy as anyone else would, and also hardships growing up that are all their own. Masks and mirrors play a big role in the film, but what I loved was that while these characters are wearing masks maybe to conceal their inner demons and the pain in their lives, they're not wearing them or pretending to be something they're not by dressing as women. Ironically, we see that they are being true to themselves, and in that sense, wearing less of a mask by doing so. The best moments for me were in the candid, honest replies to the interview questions, and I wish there would have been more of this. The imagery at the end is also especially powerful, and seems to amplify the isolation of this poor young man from the society around him, who simply gape in astonishment.