student of cinema @ Akdeniz U fine arts
"Have you ever had a dream with a dwarf in it? Do you know anyone who's had a dream with a dwarf in it? No! I don't even have dreams with dwarves in them. The only place I've seen dwarves in dreams is in stupid movies like this! "Oh make it weird, put a dwarf in it!". Everyone will go "Woah, this must be a fuckin' dream, there's a fuckin' dwarf in it!". Well I'm sick of it! You can…
Probably, the mysterious painter who was willing to go to Manchuria was Sadao Yamanaka, the director of Humanity and Paper Baloons (1937), a film yet to be watched. He seems to have a mysterious strong legacy on Japanese cinema, similar to Jean Vigo's phantom on French. I've read that Yamanaka has died in Manchuria, at a very young age, just at the start of a bright career.
This movie was the perfect end to our course on Japanese Cinema!
Starting from 1:15:35, Yukie comes to Noge's village, and the movie is suddenly hypnotically beautiful. It becomes extremely powerful from that point on, so very good that all the dull moments preceeding that, are immediately forgotten. Or to put it better, the preceeding shallow form of a love story within a political context, is transformed from that point on. Then, it suddenly transforms into the story of a woman searching for her own identity and self respect. Or perhaps, it is at this pont that we finally understand what the movie is really about.