pink and purple love⋆.∗̥✩⁺will continue to add
*and thanks so much to letterboxd.com/deedeee/ for continuing to recommend hoards of pink…
In a Japanese version of "Oedipus Rex," a gay son murders his mother and sleeps with his father.
I cannot speak for every gender non-conforming person in the world; I can only speak for myself. Firstly, I use "gender non-conforming" simply because I don't know a better term for it. Secondly, every time I see a film like this, I am trapped between feeling like I've dodged a bullet, feeling like an imposter, feeling jealous, and feeling like there should be more in art and media than the dark side of trans-life.
The film is a complex mess of imagery, a menage of docudrama, Warholian observation, theatrical hyperbole, and Greek tragedy, all of which capture the drugs, prostitution, and dizzying nightlife of Japanese LGBT (mostly G & T) culture of the late sixties. Seeing the inherent violence, exclusion, and…
With subliminal Warholian vignettes, fragments of cinematic hapax legomena (if such term could be applied to the film industry), assaulting psychosexual imagery, fragments of societal ridicule, jaw-dropping personifications, a fractured chronology, revolutionary techniques of film editing, a ghastly and hypnotic camera work and metafilm self-references, Bara no sôretsu is one of the most enthralling, unpredictable and thought-provoking avant-garde experiments that international celluloid has ever offered to mankind.
It starts with a statement:
"I am a wound and a sword, a victim and an executioner."
Then it proceeds with an alienating world beyond our comprehension. That is the first invitation you will ever receive to turn off your screen or leave the theater, because this nearly-metaphysical parade of memoir fragments and…
June Scavenger: 3/30
8. A Japanese New Wave Film
This is one that I was truly intimidated by for many years. On two other occasions I have attempted to watch it and both were interrupted by technical difficulties. I took this as a of sign that I wasn't ready for it. A bad/sometimes good- habit of mine is choosing to wait to watch a film at the exact moment I'm "supposed" to. I'll put off watching a film that I know will profoundly effect me for years. It has to be just right. Similarly, I do the same with reviewing. It's often easier to circle around peripheral thoughts than just finalize a serious summary on a film of…
" I am the wound and the Blade,both the torturer and he who is flayed "
Long before metal music and fight clubs started gathering buzz a counter culture of another kind was blossoming underground...Toshio Matsumoto delves into loneliness,ostracization,identity crisis,hallucinogenic trips brimming with carefree abandon,Oedipal undertones..He directs the scenes with utmost brutal honesty...
Stanley Kubrick was surely inspired by the restless energy,music and imagery whilst scripting A Clockwork Orange .. i bet even Park Chan-Wook took notes while making Oldboy!!!
As for the climax i am still in a state of shock and astonishment;literally my jaws dropped when i saw it...MUST MUST MUST WATCH!!!!!!!!!!!!!
"I wish the whole country would sink under water." - Eddie
Watching Toshio Matsumoto's Funeral Parade of Roses feels a bit like drowning. We are left to flail helplessly in a flood of scenes and images, tossed to and fro within the timeline of the film's underlying story. We sometimes find a brief respite in unexpected documentary-like inclusions that blur the line between fantasy and reality before being ultimately pulled under by the film's dark and jarring conclusion.
At the heart of the story are two transvestites: Leda, a bar madame, and Eddie, a young hostess. A refugee from a troubled and mysterious past, Eddie floats aimlessly through world of sex, drugs, and rock n roll while chumming it up…
Oedipus Rex laid the framework for the dramatic development of the story while the gay culture of the 60's provided the stage and era that is examined in this surreal and twisted genius of a film.
Toshio Matsumoto set out to do a film specifically on the gay subculture of Japan at the time, a culture that since then had solely existed in secrecy but now was bursting open at the seams with the changing of times. It was a new era not only in Japan but even in America with the Hippie generation, drug consumption and sexual experimentation. The times represented a new freedom and a new way of life. Matsumoto wanted to capture that way of life by…
This is an absolute must see for anyone into beyond mainstream cinema. Matsumoto's story is both visually dazzling and thoroughly engaging. Arthouse with pretention deducted! The ending took this film from being a 5/5 to one of the best films I've ever seen.
I liked how this movie was running around wild. I also like this movie as a mirror of its time and place.
However, with what it's doing, there is risk of tedium. And for me there were a bit too many tedious portions. That is part of the deal, of course.
What a ride! Funeral Parade of Roses is one of the most experimental films I have seen lately. It uses multiple narrative styles to tell its story. It is partially incomprehensible but for good reasons. Toshio Matsumoto should be credited for much more than he is. Not only was this a major influence on A Clockwork Orange which is clear throughout, but it was an influence on the now popular "new queer cinema" category.
I should firstly say that I love that Funeral Parade Of Roses exists at all to begin with. Unfortunately, I don't think it's particularly interesting or successful in its queering of the Oedipus Rex narrative or in its experimental take on metatextual filmmaking. And even the parts of it that did seem stylistically unique and intriguing are ultimately negated to a certain degree by a dull sense of vapidity permeating the film as a whole. After a while, the innovations just seem like thoughtlessly showy--and mostly empty--gestures, pointing toward a greater reverence for uniqueness and shock than for actual substance. In other instances, such a dynamic could work just fine (see Matsumoto's New Wave peer in Suzuki); however, Matsumoto's work…
I've got to say I'm a little bit in love.
This is the queer film I've been wanting to see. This is what it is like to be queer. The film is queer both in subject matter and in the techniques used to make it.
The avant garde editing, the confused narrative structure, the gorgeous photography, the fun & joy & love (& bitchiness) of inside the circle, the fear & violence & disgust from outside the circle.
(there's a nice little nod to Psycho in there too, as well as other films - Persona most obviously)
(apparently this is getting a blu-ray restoration early next year, so yay for that!)
Not what I expected, and beguiling for all of that. I love the editing, and there are some potent images within this jigsaw puzzle of a movie. Well worth a watch.
I don't feel worthy of reviewing this, but I'm leaving this here to say, dear god, please remove the ending from the synopsis
rewatch with commentary
High-rated movies with very few views. Suggestions are welcome.