Démons

I don't know that there's anything in this movie which blew me away, but there was also nothing which bothered me either. I suppose the plot is a fairly straightforward revenge story, but the stylistic elements of the film were more than enough to save the film. For instance, I liked the usage of darkness and shadows in several scenes. I don't know if I can quite put my finger on why those elements work, but something about seeing various characters appear/disappear from the shadows gives the film a dreamy aesthetic. I also liked how certain scenes were repeated. Through these scenes, you get a sense of Gengobei imagining how he wants to behave in certain situations or how some of the violence he commits or witnesses it etched into his head. These scenes also cause the film to become a subjective experience which puts you in Gengobei's headspace really well. Finally, the high level of violence also surprised me. While certain elements like the slow motion and the (relatively) high levels of blood help in this regard, that most of the deaths are prolonged gives them even more staying power. All things considered, this is definitely the most violent classic samurai film I've seen. As I said at the start of this review, I wouldn't say this film blew me away, but I do have a lot of respect for the film's technical qualities. It's a stylistically impressive take on the revenge film which is so unique with its craft that you eventually stop caring about its somewhat barebones plot.

'Shura' also known as 'Demons' or 'maybe even better known as 'Pandemonium' is second feature by great experimenter Toshio Matsumoto. It is one of the most experimental samurai films I have ever seen, and one of the most disturbing revenge stories. The film begins with colorful sun setting to transform into bleak black and white cinematography. After a geisha deceives a samurai and robs him together with her husband, the samurai starts the bloody and twisted path of revenge that unravels many secrets and treats the viewer with such twists that makes M. Night Shyamalan go green with jealousy. The film is cool mixture of classic samurai movies and film-noir with the tasty sauce of Matsumoto's experimental techniques. More straightforward and less surreal than the director's better known 'Funeral Parade of Roses'.

A very slow burn of a horror movie. I had no idea what to expect from a Japanese movie from the 1970s. I've seen very few Japanese films overall, and definitely no horror ones.

I honestly have no idea how to contextualize this one. I have absolutely no frame of reference for what I just watched. Certainly unlike any film (that I know of) that was released before this. This makes me want to watch more Japanese films, and definitely more Japanese horror. That is the mark of a great film.

I wasn't sure whether I read the genre properly for this film because the build up is not typical of the genre.

Once it gets going it does not stop. And the circular storytelling is so satisfying. I wasn't feeling this one until it gets to around the halfway point and I realized this wasn't just horror for horror's sake. Really interesting film that I want to revisit someday, probably next October.

Hopefully I'll have a more nuanced understanding of the Japanese film scene by then.

Demons is an adaptation of Tsuruya Namboku's play Kamikakete Sango Taisetsu, a kabuki theater classic based on an episode of the 47 rônins. It goes deeper, darker and crueler, than any other samurai movies I've seen. its pure malice. And thrives on diabolical suspense. Its a mans journey through hate and revenge, and his descent into madness, it is slow, painful and bloody. A remarkable exercise in cynical nihilism that is so breathtakingly grim that it becomes undeniably compelling. Along with Katsuo Nakamura's haunting performance in the lead role.

The story is not realistic. The setting and the intruducing course of action is undoubtly surreal, and almost every character in Demons is unsympathetic and devious with the possible exception of Hachiemon, who is so selfless in his sacrifices for his master that he becomes annoyingly obsequious. But thats part of the films appeal.

Matsumoto adopts an expressionist aesthetic similiar to the theatrical- play. And the editing accumulates false starts and several scenes are repeated almost identically, first dreamed then in real life. This can be very confusing and it creates incessant ruptures which breaks the narrative fluidity.

Demons is not perfect but its appeal is one you rarely see in cinema, and, of course, it has an extrodinary story and directing which thus class thus as one of world-cinemas timeless gems.

A strangely hypnotic and violent tale of greed, betrayal and revenge, this tale is a masterclass in cinematography and lighting. In fact, this has to be among the best lit films I have ever seen. Set designs are minimal and intersting and so is the story and it manages to hold the attention pretty nicely. The middle section of the film is a bit slow and that could have been worked on but otherwise it's good. The twist at the end works well. All in all, a pretty masterful work of art and a very underrated piece of samurai cinema.