Sob o Olhar do Mar

The simple story of a timeless truth. A lovely Cinderella-type story. I highly reccomend watching this film with good friends and a bottle of wine. This is a quaint story about a brothel girl in constant throes of unrequetted love from her clients. This happens over and over until the climatic ending of the movie where she is trapped in the brothel by a deadly flood. I saw this movie in my Japanese class. That was the only reason I didn't let myself cry. You will really love this movie.

A tragically wonderful movie... brings us to a Japan that does not exist anymore. Despite Hollywood's technical expertise, I have yet to see a (hollywood) movie that can match the authenticity of the atmosphere in this small town by the river near the sea... Tom Cruise's The Last Samurai looked liked the last installment of the Lord of The Rings in trying to capture rural Old Japan.

If you like serene but intense story lines, this is a must see film. It will be a respite from hollow flashy films much like the last 1000 blockbusters you saw. I think this is one of Kurosawa's better stories.

Even if it's a movie about geishas and brothels and the complicated rules that govern life in such settings, it did not turn into a skin flick. The characters are full of depth and act with much intensity.

Finally, after 2 years, my Japanese roommate hunted down this DVD.

This was the screenplay Kurosawa was working on when he died. While it isn't on the grand scale of some of the master's works, and it was directed by one of his disciples, it is a precious gem-burnished and gleaming as you inspect it from all angles. What a deft touch making the lives of prostitutes so compelling, and in the final scene, even heroic. The featurette with the DVD shows how Kurosawa was enamored with the "chic" of old Edo. It goes a long way to explaining the loving look of the film. Not to mention, the opening music theme is haunting and entrancing.

I can understand those who dislike this movie cause of a lack of knowledge.

First of all, those girls are not Geisha, but brothel tenants, and one that don't know the difference will not understand half of the movie, and certainly not the end. This is a complete art work about the women's life and needs in this era. Everything is important, and certainly the way they dress, all over the movie means more than words. To those who thought it was a boring geisha movie, I'll suggest you to read a bit about this society before making a conclusion that is so out of the reality. This is Kurosawa's work of is life, and I'm sure that the director understood the silent meaning of Kurosawa's piece to the right intellectual range.

'Umi wa miteita' ('The Sea is Watching') was Akira Kurasawa's swansong to film: his adaptation of his favored novelist Shugoro Yamamoto's story into a screenplay he intended to film was his final mark he left on a brilliant career. Director Kei Kumai pays homage to both Kurosawa and Yamamoto in presenting this visually stunning transformation of word to image.

Set in 19th century Japan, the story explores the lives of the women of a Geisha house whose sole purpose in life is to earn money by pleasuring men. The house is run by an older couple who are genteel and the geishas are an enchanting group of women who know their trade and take pride in their careers. Each has a reason for turning to the life of geisha. Oshin (Nagiko Tono) supports her family who live in a neighboring village, Kikuno (Misa Shimizu) has customers both good and evil whom she manages to sustain with her stories of her higher caste. Oshin befriends an endangered samurai, falls in love with the gentle fellow, only to find that he must not marry out of his caste and leaves his pleasures with Oshin to marry his promised betrothed. Oshin's heart bruises easily but is always supported emotionally and physically/monetarily by Kikuno and the other geishas.

A handsome samurai Ryosuke (Masatoshi Nagase) enters Oshin's life and develops the first trusted and devoted relationship with her. Kikuno is beset by problems, deciding whether to accept the humble love of an old man who wishes to marry her, and coping with a rich but abusive customer. All the while the sea is watching and as a typhoon destroys the geisha house and street, Oshin and Kikuno sit atop the roof waiting for the promised rescue by Ryosuke. The manner in which the story ends is one of sacrifice, love, and devotion. The sea is watching and will find protection for true love.

The photography by Kazuo Okuhara is breathtakingly beautiful: night scenes with glowing lanterns and colorful geisha interiors are matched with recurring glimpses of the sea both calm and turbulent. The acting is a bit strained for Edo art, but the characters are well created and keep the story credible. The one distraction which is definitely NOT something Kurosawa would have condoned is the tacky Western music score that sounds like cheap soap opera filler except for the isolated moments when real Japanese music on authentic instruments graces the track. But in the end there is enough of Kurosawa's influence to imbue this film with his brand of dreamlike wonder that will always maintain his importance on world cinema. Grady Harp