Mélodie tzigane

"ZIGEUNERWEISEN is the best among the trinity, for being a more ludic and freewheeling vehicle that is almost unperturbed by affective force, and its psychic elements are more pellucid (a young daughter communicates with her dead father through dreams, versus the elusive suicidal pact in KAGERO-ZA), plus the inclusion of a triad of blind mendicant minstrels, chanting ribald ditties while the hierarchy of their sex preference goes through an irreverent modulation."

read my full review on my blog: cinema omnivore, thanks!

Suzuki is generally known for his outrageous, eye-popping imagery. I think his films actually contain a lot of depth and are great besides that imagery, but I know it's the visuals that bring him his fame. This film, independently produced after a long hiatus from film-making, is a different kind of Suzuki. A VERY different Suzuki. Zigeunerweisen, named after a musical composition that plays a couple of times during the film and a record of which plays an important part of the plot, is a rather slowly paced art film, a very long one at that, with an almost European feeling. There are a few striking images in its two and a half hours (most notably a woman licking a man's eyeball), but it isn't the phantasmagoria of Suzuki's earlier films, or his later films. The dialogue is often weird and poetic. My favorite line was "You caress me as if sucking my very bones." The film takes place during the Taisho period, which occurred after the Meiji Restoration during the 20s and 30s. It is a period marked by further Westernization and a loss of traditional values (I might be wrong, but I think Oshima's In the Realm of the Senses is set during the same period). The story involves two friends, a professor and a vagabond, and their relationships with their wives, as well as a geisha they once met on a vacation. There isn't too much story, per se. The vagabond marries a woman who looks identical to the geisha, but doesn't stay faithful, or even at home. The film is mostly told from the point of view of the professor (played by Toshiya Fujita, the director of Lady Snowblood). Like I said, the film is very deliberately paced. It was hard to stay interested at times. But the movie moves toward a mysterious and haunting finale. I don't think I get it, but I found the whole film intriguing, at least. Not my favorite Suzuki by a long shot, but maybe I'll understand it better on a subsequent viewing (which probably won't happen for a long while).

I understand 1980s japan liked it.

I understand most people on here like it 10/10 and such.

I dont really care about why it's a German name or any of the factiods on the Wikipedia page.

I enjoyed it as an experience, but the story was kinda vague. If you're gonna watch this appreciate it as you would a painting. But don't watch this for the story.

Zigeunerweisen, which translates to Gypsy Airs from German and refers to a recording by Spanish violinist Pablo de Sarasate, is the first part of director Suzuki Seijun's Taisho Roman Trilogy. Let me explain these elements a little bit further. The movie title refers to the recording because the two lead characters are listening to it and trying to figure out the violinist's words that are briefly being uttered. The trilogy refers to films taking place during the Taisho era between 1912 and 1926. Said era is often interpreted as inspired by arts, democracy, diplomacy, individualism and liberalism. All three films tell romantic dramas with hints at gothic ghost stories.

This first movie marked a remarkable independent return for veteran director Suzuki Seijun thirteen years after his last movie Branded to Kill created for production company Nikkatsu Corporation. The director was fired by the corporation for a lack of focused scriptwriting and commercial acclaim and successfully sued the company over many years which led to dramatic changes in Japan's cinematic industry. In the meantime, Suzuki Seijun had only created negatively received social satire A Tale of Sorrow and Sadness. Zigeunerweisen was shown in inflatable tents on convenience stores and in public places rather than in public or private cinemas which gathered a lot of attention. The movie is thus also the most commercially successful of the trilogy.

The story revolves around two intellectual former colleagues and friends who couldn't be more different from each other. Aochi is calm, gentle and organized as he prioritizes stability over experiments. Nakasago is wild, rough and disorganized and values experiments over stability. Aochi suffers greatly from believing his wife might have a romantic relationship with Nakasago. On the other side, Nakasago doesn't only seduce his friend's wife but also becomes smitten with a geisha. In his despair, Aochi bonds with Nakasago's abandoned wife during one of his prolonged absences. Despite those struggles, the two men remain friends and the morbid Nakasago suggests that whoever outlives the other should get the other's bones. When Nakasago dies alone in the countryside due to a drug overdose, Aochi continues to be haunted by his friend through his wife's admiration for him, the deceased's geisha's frequent visits and the strange daughter of the dead man.

This movie discusses numerous different themes such as death, desire, family, friendship and love. The film thus inspires profound discussions among cineasts. The mysterious story has several interesting changes and shifts and concludes on a surprising note. The acting performances are excellent throughout. The settings in rural Japan are wonderful to observe. The elegant costumes are truly inspiring. The soundtrack based upon classical music provides much atmosphere.

The film however suffers from its excessive length, clocking in at an ambitious one hundred forty-four minutes, that starkly contrasts the filmmaker's previous films that usually weren't longer than ninety minutes. Especially the movie's middle section is particularly slow, focuses on much repetition and doesn't properly develop the plot. The movie's commercial success was mostly due to its circumstances and presentation but not due to its content and quality.

At the end of the day, Zigeunerweisen is a mysterious drama that should appeal to intellectual audiences, experienced cineasts and people interested in the Taisho era. This movie is however too ambitious, complicated and long to appeal to wider audiences. Its overall style hasn't aged very well either and looks particularly old-fashioned by contemporary standards. You must muster a lot of attention, patience and time to fully embrace this experimental feature film.

A surreal period film following a university professor (Toshiya Fujita) and his eerie nomad friend (Yoshio Harada) as they go through loose romantic triangles and face death in peculiar ways.

Director Seijun Suzuki was terminated from his contract with Nikkatsu Studios in 1968 for making "movies that make no sense and no money" (specifically "Branded to Kill") and was subsequently blacklisted. In the following years he conversed frequently with his crew at his home and continued developing ideas for new projects. Suzuki's blacklisting ended with the release of his critically and commercially unsuccessful 1977 film "A Tale of Sorrow and Sadness". But it was "Zigeunerweisen" that brought him lasting acclaim.

You might wonder, why does a Japanese film have a German title? Well, "Zigeunerweisen" (also known as "Gypsy Airs") is a musical composition for violin and orchestra written in 1878 by Pablo de Sarasate, based on themes of the Roma people. This composition provided the title and much of the soundtrack for Seijun Suzuki's film. Indeed, the concept of wandering is intrinsic to the plot.

But this is less about plot and more about dreamlike imagery. There are many strange visuals. Not outright bizarre, but some things bordering on performance art. One scene, for example, has two men buried in the sand beating each other with rods. Why is this necessary? It isn't, but is all a part of what makes the film memorable.

"Zigeunerweisen" was a surprise success in Japan, both commercially and critically; it took home the Japanese Academy Awards for best picture, director, and supporting actress, and the prestigious Kinema Jumpo awards for best director, film, screenplay, actress, and supporting actress. Suzuki was not just back, he was finally recognized as a real treasure. This success naturally lead to future films, and this became the first part of Suzuki's Taishō Roman Trilogy, followed by "Kagero-za" (1981) and "Yumeji" (1991). Not sequels or a trilogy in a strict sense, they are each surrealistic psychological dramas and ghost stories linked by style, themes and the Taishō period (1912-1926) setting.

In North America, Kino International released a DVD edition of the film in 2006. It features a 25-minute interview with Suzuki discussing the making of the Taishō Roman Trilogy, a biography and filmography of the same, the theatrical trailer and a gallery of promotional material and photographs. The Arrow Video Blu-ray brings these features along for the ride. On top of that, they offer a high-definition presentation and a new introduction to the film by critic Tony Rayns.