Seven Souls in the Skull Castle

Coming off the hype that is (and richly deserved) Demon Slayer: Mugen Train, I happened across this gem of a stage play on Netflix, and watching for the first time I thought, 'How odd.' I'm a Westerner, what can I say. There were lots of flashing lights, sword fights and shouting, strangely compelling characters and an story that is both exhausting and confounding...but I was also entranced and compelled to watch it again...and again...and again...

Netflix offers several versions of the same filmed play, showing different actors in the various roles, but it is this version that nails the characters for me, they are all truly luminous and ethereal in their roles. And the production values are simply incredible! What magnificent staging! And I live in Melbourne, Australia, home of staged live events, but I have seen nothing on par with this...the lighting, sound and scenery technicians are masters of their craft...

It is a strange story of friendships forged in battle, love and betrayal, well worth the investment of time to watch. It needs a big screen and decent sound system, but oh, it is well worth it...

Watch it just for the experience alone, you will not be disappointed. Now I must seek out the DVD for my collection!

This is the first Japanese play I have ever watched. By the end of it, I was so impressed that I felt I had to google it. It turns out that it's a play by a theatre troupe since 1990 and it has been performed every 7 years. The 2011 version and 2013 version are actually identical.

There are many characters in this play and each has his/her own story. Loosely based on history, at the center are three samurais whose master warlord was murdered and they were reunited under entirely different circumstances. You could nitpick the storyline somewhat, but overall, it's a masterpiece and reminds me of Shakespeare plays with its richness of characters, the tragically lost soul and lives, betrayal and loyalty - it's universal.

What really made this film a gem, besides artfully executed music, staging and lighting, are the performances by all the actors. Of them all, Mirai MORIYAMA and Taichi SAOTOME especially stood out. I would call both of them artists, not mere actors. By googling I learned mostly from Chinese sources (I can't read Japanese) Moriyama is originally a dancer while Saotome, performing on stage since he was 4 years old, is a phenomenon of "once in a hundred years" as he's so acclaimed in Japan for his ability to play traditional Japanese female stage roles. The various sword fight scenes are simply delicious to watch. The most mesmerizing performance occurred when Moriyama managed to convince Saotome to join him.

I appreciate that Netflix made this film available in the first place. They uploaded 6 versions in total. I watched nearly all of them and I have to say the 2011/2013 version is the best one.

In 2017 Bird version, Moriyama and Saotome played the same characters with different interpretation - but equally mesmerizing and marvelous compared to the 2011 version. I literally rewatched their interaction of Bird and 2011/2013 versions quite a few times and compared them. Too bad the leading character was too weak in the Bird version or it'd be equally good with extra musical element.

Viewed at CineMatsuri 2014 and on DVD. When the performance ends (un-interrupted for 179 minutes), you may find yourself frozen in place (and paralyzed in your seat if you are in a theater)! The impact is that overwhelming. You may need a few minutes to return to reality. I have seen a boat load (or three) of movies and stage plays (haven't we all?!), but NOTHING like this. In chatting with the Producer (in my poor Japanese), he related that these performances are re-mounted about every six years or so, and, for a short time, tour just the major cities of Japan (and no where else on the planet). Direction, acting, choreography, lighting effects, stage decoration, camera work, digital video recording (you can even see the perspiration on the actors), miking, digital sound recording, etc. are all beyond spectacular. Dialog is written and delivered on an obtuse (almost abstract) level that is hard to compare (or comprehend). But is sure sounds suburb! Perhaps it might be likened to Shakespeare when it was first performed in what was then contemporary Old English several hundred years ago? This means that subtitles are a must even for some native Japanese speakers. (If there was ever an objective test for measuring one's Japanese pureness, being able to comprehend the dialog from this performance may be it!) When you see this performance, you may be witnessing the birth (or rebirth) of a new medium form. It is not a stage play as such (although recorded from/on/above/below the stage and with a live audience) nor is it a conventional movie (there are no edited scenes or cuts or retakes or dialog dubbing or, as noted above, an intermission during its 179 minutes). Some surround sound field effects have been added as well as sound effects such as steel swords in action). But that's it. Everything else remains as it was when performed live. WILLIAM FLANIGAN, PhD.