Inugami

Many may find this slow going, but it is beautifully shot, and compellingly strange. This kind of folk myth is not often seen on the screen, and hardly ever in such a low-key, erotic style. And there is nothing so terrible about the soundtrack, except perhaps to opera snobs who can't bear to hear Verdi put to use in such an out-of-context way. Not a great film, but above-average for this genre. The Japanese countryside is gorgeous, the atmospherics are evocative, and the actors, particularly the women, are all first rate. Throw in some fascinating scenes of paper making, and on the other hand, some beautifully framed sex scenes, and this is certainly much more watchable than many of its American equivalents.

The summary could seem right hadn't I seen 12 movies this weekend at the Fantasporto film festival. And Inugami was quite frankly the most odd, slow, and incomprehensible of all. Don't ask me why, I came out like I stared at a wall for two hours. Even when I tried to make some sense of it, nothing worked. In its essence, the movie talks about a family whose women are cursed. But perhaps it's me, the story is quite difficult to follow. The people seem to wander around, I didn't understand any of it. But I respect it, afterall there are people who liked it. Anyway, luckily they won't catch me seeing this one again.

Yes, this beautifully filmed fable would have delighted Sigmund Freud. If you are really uncomfortable with the theme of incest, albeit unwitting, do not watch this movie, because it is central to the plot. As in Oedipus Rex, a grim fate hangs over and destroys the hapless characters involved. It is fascinating to watch this archetypal drama playing out in the context of a superstitious Shinto world view.

But this is not the only theme driving this complex drama. The interplay of the traditional and the modern is consistently in the forefront, and the film sees the good and the bad in both. The irreplaceable art of Japanese paper-making, which is shown in some detail, comes out of the same traditional culture that fosters destructive superstitious beliefs. Similarly, the forces of "progress" and modernity work for both good and bad purposes. A plan is afoot to cut down the beloved forest to make way for a big modern country resort, destroying what is good in the traditional culture (including the paper-making art); and yet the modern spirit of reason seems to be the only hope for freeing these villagers from the destructive superstitious beliefs that enslave them. The traditional world of Shinto is full of ghosts and deities, of beauty and horror, and it does not easily coexist with modernity. Nothing is simple here.

These are some of the themes at play in this complex fable. The film invites repeated viewings. There is much to see: it is very beautiful, and the acting is excellent. It is full of surprises, and is highly entertaining. When you watch, be careful to note the family connections of the characters. The family tree is important. Director Masato Harada has created something memorable and unique, and it cannot be easily classified in one genre or another.

INUGAMI is an interesting yet drawn out film. Though there are many wonderful aspects to the film (location, cinematography, directing) they just don't save the film from many bouts of tedium. The most overdone aspect being the Tomie character. However, for those who do give this film a chance they will surely be treated to an above par thriller set in a quiet village virtually disconnected from the rest of the world. Here, not only does everyone know each other's name but they know their secrets as well. This concept alone is easily fun to play with and we are treated to it quite nicely as we (the viewer) learn the secrets of the village along with Akira (a school teacher, and outsider) who has just arrived in the town.

Personally, I felt the film should have omitted a few of the middle scenes of the movie involving Takanao. He had a certain mystique about him near the beginning, but with each additional scene involving him I felt a lack of interest growing. Also, I couldn't help but feel bored around every group meeting which took place in the film (of which, there are many). For some reason, it just didn't feel like they were getting anything accomplished asides from re-stating the basic purpose of the Bonomiya. These scenes were just so disinteresting, especially nearing the end.

Also, from a western point of view, the whole idea of loyalty to a certain job, no matter what the cost, seems trying at times. This is basically a problem most westerners have with many Asian films. The sense of honour and commitment seems to also be a foreign thing to North American audiences. I have watched other Asian films, less engaging than this one. While watching the other films, I found myself very interested and downright intrigued by the "honour" aspect. But here, in INUGAMI, honour is certainly not essential. Even morality is utterly useless as the depraved truth is revealed.

I really wanted to love this film, as I mentioned before there were good things going for it. However, I'm to conflicted by so many other things about the movie. This film is definitely not for everyone especially those who are attracted to the film due to it's underlying "horror" theme.

You don't see any ugly demons strolling the streets, you only see the ugliness of human beings who have steeped themselves in tradition and the past. The two things which have been responsible for the downfall of so many organizations, societies, and people.

Oh, and the music was rank!

This is a drama-fantasy about two Bonomiya families in the computer age, shunned by villagers because of the legendary curse of the Inugami (wild dog deities), supposedly borne by the women. It focuses on gentle spinster Miki Bonomiya (Yuki Amami). Her mother Tomiè (Shiho Fujimura) quietly/firmly rules the 'lower home'. She and surly/Internet-wise brother Takanao (Kazuhiro Yamaji) are strong believers of the curse. Miki and her younger sister Rika (Myu Watase) refute the curse. Takanao's oft-battered wife Sonoko (Shion Machida) and their children are innocent bystanders. Seiji Doi (Eugene Harada), from the 'main home', firmly sides with Miki.

Dramatic changes occur after a new teacher Akira Nutahara (Atsuro Watabe) meets Miki. He is entranced by her skill in fine paper-making (for calligraphy) and her placid beauty. Miki becomes suddenly youthful and sensuous as they begin a passionate affair. Villagers begin to gossip about their affair. Then, tension mounts as tragedies in the village are blamed on the curse of Inugami and long-hidden secrets, involving Miki and Takanao, are slowly revealed. The culmination is the annual ancestral Shinto rites in which Takanao decides on Miki as the human sacrifice to appease the dog deities.

Yuki Amami played the male roles in the decades-famous all-women Takarazuka Revue.