Duplo Suicídio em Amijima

Stemming from a Japanese puppet play from the 1700's, Double Suicide stands tall and beautiful as a new wave love story similar to that of "Romeo and Juliet" on the surface. Masahiro Shinoda takes some risky strides in his directing by utilizing a series of dark "puppet master" characters to linger in the majority of all scenes alluding to the story in its earliest form. This concept manages to workout wonderfully by some miracle and really compliments the thematic elements of the film as we watch the cast manipulate one another or "pull each other's strings." The performances are all stellar in this film as Shinoda makes sure to direct each to have a very vacant and detached approach to their roles allowing their characters to fall into the deceit of one another. Jihei, (Kichiemon Nakamura), is perfect in his dark conviction of his immoral affair with a 19 year old prostitute (Shima Iwashita), while still attempting to maintain a healthy relationship with his too-loyal wife Osan (also played by Shima Iwashita). Osan takes the feminist's nightmare role of a wife whom stands by her husband's side and is supportive of his every wrong-doing. The prostitute, Koharu, balances the relationship by playing the role of a friend to the wife and promising to end her affair while professing her never-ending love for Jihei when Osan is out of the picture. Everyone shares a shifting balance of power, control, and love for one another really adding up to the thrilling climax of this film.

Visually, this film is just as outstanding as is its narrative. The cinematographer plans his shots smart by finding the ideal balance for including the puppet masters in appropriate shots. This is a film full to the brim of wide and establishing shots with puppet masters cleverly tucked in the distant background of each frame opposed to using unnecessary close-ups. This is most similar to how puppet masters in the original puppet play productions would remain shielded in the darkness of the stage to remain being seen as little as possible.

...based on the 18th century play by Chikamatsu. Married paper merchant Jihei (Kichiemon Nakamura) falls in love with indentured prostitute Koharu (Sima Iwashita), and promises to raise the money necessary to secure her freedom. However, when their plans look unlikely to succeed, they swear to commit suicide together to be united in eternity. Sima Iwashita also plays Jihei's long-suffering wife Osan.

Director Masahiro Shinoda opts for a highly stylized production. The film open with a bunraku, or puppet show, troupe preparing for a performance of the play while Shinoda is heard discussing the film's script with screenwriter Toru Takemitsu. When the story finally gets underway, the performances range from realism to kabuki expressionism, while the sets are also a blend of the real-world with the deliberately artificial. The most striking aspect is the presence of stagehands, dressed in black from head to toe as is the traditional way in stage performances, lurking about the sets. Their otherworldly appearance and silent presence turn them into a sort of grim reaper hovering over the characters, signaling their inevitable fate.

"Double Suicide" is a bunraku puppet performance at its core, with perhaps the only difference being that actual humans play the roles of the puppets.

The puppet masters, their faces covered with thin black silk masks, move around props, rapidly change the minimal sets, never interfering with the plot or the characters, yet moving them forward and cooperating with them in a way that is not at all distracting.

The puppets themselves are finely crafted, and the characters that they play present a depth of humanity that is rare in all forms of staged entertainment (whether it be a movie, a play, or the like). Being puppets, however, the viewer is left feeling detached from them, even if there is a sense of humanity present that one can grasp. Oddly enough, that is a good thing in this case - it increases the sense of how the only thing that one could do when the tragic events unfold is to watch.

This is not a film for all tastes, obviously. But the same statement can apply to the bunraku puppet play that this movie is based on. This performance is pulled off with perfection, and I highly recommend it.

10 out of 10

Based on a 18th century bunraku play (Japanese form of puppet theater) by Chikamatsu, Double Suicide revolves around the star-crossed love of paper merchant Jihei and courtesan Koharu. The problem in Jihei's case however is twofold. First he's a married man and second he can't afford to pay the brothel Koharu works in and redeem her. In the face of their unrequisite and impossible love, Jihei and Koharu decide to commit suicide together - the inevitably tragic conclusion the title refers to.

Double Suicide is a three-act filmed play but it's director Masahiro Shinoda's command of the craft that transforms it into something more. Since the original is a bunraku puppet play, he opens the film with modern bunraku actors preparing for it and after the credits sequence switches the puppets for real actors.

The puppet masters however remain present for the entire movie, dressed in black suits, looking all the same, mute and mostly motionless, like artificial props and part of the set decoration they're charged with changing. Indeed they remove and change sets, actively take part in the action and interact with the actors and even freeze narrative time for our convenience but the best part (and a testament to Shinoda's talent) is that they never call attention to themselves as a gimmick.

They blend seamlessly with the combination of traditional and abstract painted sets and there are times you forget they're even present in the scene until they move. What they do mostly however is observe. Shinoda's direction is as usual perfect - enhanced by Criterion's pristine transfer, Double Suicide is a feast for the eyes shot in stark black and white, where the black is black and the white is white.

Related to Shinoda's excellent directorial skills, a common conception about him is that he's a director easy to admire but hard to love. I think Double Suicide effectively combines the best of both worlds - the technical prowess of a master cinematician with a touching and tragic love story, with universal roots but a very traditionally Japanese approach - the conflict between duty (giri) and passion (ninjo).

Kichiemon Nakamura is a paper merchant, desperately in love with courtesan Shima Iwashita and she with him, but she has five years left on her contract and he does not have the money to free her from it. He is also married -- his wife is also played by Miss Iwashita, who is married to the director of the movie, Masahiro Shinoda -- and so they speak about killing themselves together. In the meantime, their love has become common gossip.

It's based on Chikamatsu Monzaemon's 1721 joruni puppet play THE LOVE SUICIDES AT ANIJIMAI; a live performance soon followed. Monzaemon (1653-1725) was the son of a masterless samurai. It is uncertain when he wrote the first of his more than 130 plays, but his earliest known credit was 1683's THE SOGA HEIRS. He wrote for puppet plays and, until the middle 1690s, kabuki. He is widely thought to be Japan's greatest playwright.

This production acknowledges both forms. The play starts in a theater, with a producer speaking of the problems; some mannequin heads bespeak of the puppet drama. The rest of the movie is kabuki-like, with artificial-looking sets and masked stagehands in black to move props around, follow the lovers as their go about the course of their tragedy, and aid in their suicide. Their presence in the cinematic medium, which usually stressed naturism, gives them a weird, demonic purpose as the executioners of fate.