La balada de Narayama

Having watched both versions of Ballad of Narayama I came to the conclusion that neither movie is truly great but if elements of both were to be combined it would create the perfect blend. I still enjoy both films quite a lot, it's just that they could've been more. The main advantage of this version is the great cinematography and the use of real life locations. The 1958 movie looks great too and the sets are fantastic in it but this version in my opinion is more impressive with the beautiful shots of real scenery. Additionally, I enjoyed the often metaphorical footage of animals and nature. On top of that I much prefer the way that this story was told as the main drawback of the original Ballad to me was the kabuki style storytelling which thankfully the newer one dispenses with.

However, what the first Ballad did much, much better was that it made me feel for its characters a lot more. That movie is shorter and yet the characters are more realised and when the ending comes and the inevitable has to happen it made me really sad. In this 1983 version the final choice didn't have the same impact due to me not caring as much about the people. On top of that the main matriarch was played much more sympathetically in the older film, thanks to the actress which helped to add to the emotional punch that the movie was aiming for. Instead of focusing on doing more to make the viewer care for the inhabitants of the village the newer Ballad instead opts for the inclusion of a plethora of mostly comedic sex scenes which whilst often amusing can be a bit too much. I understand that it's a bit of a trademark of director Imamura to do this and I don't have a problem with it but I just wish he substituted some of those scenes with others or made the movie longer to add more of the much needed emotion. All in all this is a very good movie, as is the first one but I still think there is room for another go at this story which if done right has the potential to be better than both its predecessors.

"Ballad of Narayama" is ultimately a film about survival.

Set during the Meiji Period, the inhabitants of a tiny Japanese farming village are forced to embrace extreme tactics to ensure that they stay alive.

Male babies are instantly killed with hardly any remorse, while females are usually sold. Stealing food is punishable by death, which we see in a very disturbing scene where an entire family are buried alive due their father's crime.

And, ultimately, the elderly are sent to die at the base of a mountain called Narayama when they reach the age of 70.

Despite the depressing tone, there is a lot of humor in this film, as well. The songs that the villagers sing about each other are pretty funny, and it's difficult not to laugh at Old Orin trying to knock her own teeth out with a rock.

Speaking of Old Orin, the actress who player her (Sumiko Sakamoto) gives a wonderful performance in this film. She had her teeth surgically removed for this role, and gives a realistic depiction of a 70-year-old woman even though she was in her 40s when the film was made.

"Ballad of Narayama" is indeed a depressing film in many aspects, but it's also filled with humor and offers a better understanding of what life must be like in these types of situations.

I was a little surprised by a few of the negative comments below since I don't consider this film to be at all slow or dull. Many foreign and Asian films (Tsai Ming-Liang, Apitchatpong Weerasethakul, Hou Hsiao-Hsien for example)are far more grueling and slow whereas this film is loaded with narrative events, humor, eroticism (of various sorts, not all involving contact between humans and other humans)and a profound meditation on community, responsibility and mortality. If one finds this slow then I'd imagine most foreign films besides Amelie would be off-limits. I have rarely seen a film that forces one to confront such disturbing yet important subjects. In this village where scarcity forces all over 70 to be taken to Narayama mountain to die, a 69 year old woman who is still energetic and capable must settle her son's affairs before taking her final journey. Pondering how one would live in a place where for years one would know that at 70 this would happen is one key question. Further, what are the final things one must do before dying. Finally, the film makes us confront the literal truth of bodily decay and corruption in the scenes at Narayama Mountain.

... in this Japanese period drama from Shochiku and writer-director Keisuke Kinoshita. In a poor farming village, old woman Orin (Kinuyo Tanaka) is feeling the pressure, both from her ingrate grandson, and her own conscience and adherence to tradition, to commit obasute, wherein elderly people travel to the top of nearby Narayama mountain and wait to die from starvation or exposure. Orin is the strongest, most productive member of the family, but youth trumps utility, and Orin prepares to make her final journey.

Using widescreen and color film, director Kinoshita uniquely melds the cinematic with the theatrical, as the story is told in near kabuki fashion, with a singing narrator and traditional Japanese musical instrumentation. The sets are stylized and deliberately artificial, with realistic settings in the foreground, and miniature or painted backdrops behind them. There is also repeated use of monochromatic lighting, from red filters to green filters, to accentuate the mood of the scene.

The performances are equally stylized in the kabuki manner, and as such may be off-putting to Western audiences unused to the style. I thought the film was tremendous, an artistically challenging production with a very striking audio and visual presentation, and a moving, universal story touching on aging and obsolescence forming the bedrock. Recommended.

This is actually an extraordinarily beautiful film, if one has even the remotest understanding of Japanese culture around that time period. The harshness of life in Japan made the sort of society in which people went to "be with their loved-ones" and "be with the God of the Mountain" at age 70 completely necessary. The focus of the film is the struggle for survival, and more than that, prospering, in the harsh environment of c. XIX Tohoku. The exploration of this topic takes the viewer into a study of survival through strict rules, and prospering through sexual relationships. The scenes of sexual intercourse serve to portray that even in sexual situations, the Japanese as a people have never viewed nature and animals as separate from ourselves.