Suna no utsuwa

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.

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.

CASTLE OF SAND is an engrossing, laid-back police procedural that captures your attention even when the plot seems fairly ordinary. A Tokyo cop (Tetsuro Tamba) is troubled when a retired cop is found brutally murdered, with no evidence save the vague recollections of a few townsfolk. At times, the story is reminiscent of a regional travelogue, but in learning more about Japan, Tamba hones in on a small set of likely suspects, but everyone is so agreeable that uncovering the truth becomes like rooting out the one hidden evidence of violence in a sea of potential data.

Regrettably, the film unravels in the final forty or so minutes, when the remainder of the story is told with musical accompaniment of a famous pianist. The plot becomes frankly loses credibility and even becomes rather nonsensical. The movie changes mood and style, and dripping with melodrama.

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.

The Film Society of Lincoln Center Presents

A Special Retrospective of The 43rd New York Film Festival

The Beauty of the Everyday: Japan's Shochiku Company at 110 September 24 – October 20, 2005

This project is supported in part by an award from the National Endowment for the Arts, which believes that a great nation deserves great art.

This year's New York Film Festival Retrospective— The Beauty of the Everyday: Japan's Shochiku Company at 110— is virtually a pocket history of Japanese cinema. While some fifteen of the forty-five films in the retrospective are devoted to Japanese filmmaker masters, such as Ozu, Naruse, and Mizoguchi, more than two dozen of the films are by directors far less well-known in the West.

The Castle of Sand / Suna no Utsuwa Yoshitaro Nomura, 1974; 140m Two detectives, Imanishi and Yoshimura, are assigned to the murder of a 60-year-old man whose body was found dumped in a railroad yard. It turns to be that of a former policeman, Miki; the murder now seems even more mysterious, as Miki was well liked by all and had been on holiday when he was killed. The detectives visit all the places to which Miki has traveled, with little luck, but then they read an account buried in a lengthy report of how Miki years before had befriended a destitute, leprous man and his young son. Amazingly, that boy had grown up to become Eiryo Waga, a rising star in the music world. Could such an eminent figure have anything to do with the murder? Sadly, Yoshitaro Nomura passed away this past April; for years one of Shochiku's most popular and reliable directors, he worked successfully in a variety of genres but especially made his mark with The Castle of Sand, based on a best-selling novel. A real delight, the film contains many of the classic features of the detective film — the pairing of a veteran and a rookie, the investigation as a voyage of discovery, wonderfully eccentric supporting characters — but under Nomura's sure direction they take on a whole new life.

ONLY ONE Screening: Sun Sept 25: 9:00pm