[ Directed by ]
[ Produced by ]
* NARITA Naoya
* ONISHI Yoichiro
[ Cast ]
* ICHIKAWA Yui NAKAZAWA Emiko
* IKEMATSU Sosuke TAKANO Hiroshi
* SAKAI Madoka Tokiko
[ Staff ]
* Original Story: NAKAZAWA Kei
* Screenplay: ARAI Haruhiko
* Cinematography: SUZUKI Kazuhiro
* Lighting: NAKANISHI Katsuyuki
* Editor: HIRUTA Tomoko
* Production Design: INOUE Shimpei
* Production Design: KOSAKA Kentaro
[ Production Company ]
THE KLOCKWORX, KING RECORDS, PHANTOM FILM
[ Distributor (Japan) ]
[ Production Studio ]
Release Date : September, 13th, 2014
Running Time : 118 min
Genre : Romance , Feature , Drama
Color : Color
Screening Format : DCP,HDCAM,Blu-ray,DVD
Screening Format with Subtitles
[ Story ]
A drama based on the bestselling novel by author Nakazawa Kei. It uses nostalgic imagery to illustrate the romantic fortunes and struggles of a young woman who gives herself to a selfish man. Star Ichikawa Yui takes on bold nude scenes for the first time, carving out new territory for herself as an actress.
High school student Emiko (Ichikawa) is pressured into kissing senior classman Hiroshi (Ikematsu Sosuke), and impulsively lets him have his way with her. From then on, she becomes increasingly attached to him. However, Hiroshi tells Emiko: “The only thing that interests me about a woman is their body. I don’t care who it belongs to.”
[ Official Site ]
From the very first sequence, Ando Hiroshi introduces the best and the dynamics of his film, though not revealing the developments. Two guys walk in a park zoo and she repeats many times she wants to go see the bear. Emiko, is a woman who in a certain sense “asks”, who has expectations about her relationship with what she considers her. She will not be able to see the bear as well as many of her requests about their relationship, they understand it, they will be frustrated. A sudden rain and a drift bring us to a picture that encloses the two protagonists, naked, sitting side by side. There could only be this: there are two universes that touch, but they do not understand, and their looks do not meet. She remembers her father, he does not seem particularly interested, after a while they start to have sex and the camera moves around the bodies, focusing on the investigation of their marriage on the aspect that unites them, sex.
Taken from a novel by Nakazawa Kei written in 1978, the film tells the story of Emiko, shy student, who falls in love with a bigger schoolmate Yo. She is strongly attracted to the boy and despite openly declaring that she is not particularly interested in her as a person, rather than sex, she is still obstinate, adapting to the emotionally unbalanced situation. Time goes by, Emiko works in a flower shop. The story “sick” with the man continues, despite the apparent controversy of her mother. Until a moment, when something changes in the dynamics of their relationship, forcing both and especially the woman to acknowledge.
Undulant Fever is a vicious affair of amour fou, it’s a search in dynamic sex love or even an analysis of love as a power game. She is beautifully disconcerting as in any “sick” story that is respected, however passively agreeable. He is summoned as a character in that ever oblique glance, never addressed to her, which best represents her “emotional impotence”, the inability to feel. Ikematsu Sosuke is effective in the role (sometimes remembers the part played by Yoshida Daihachi in Kami no tsuki (Pale Moon, 2014), even in that movie, an insensitive student who is very interested in sex).
Sex scenes are well-built and creative as proof of the director’s experience in the pinku world, but perhaps the one I preferred was the two guys at school time and as spectators, we are only preparing the place as they approach two benches in order to create something like a bed: the director decides to enclose the rest in an elephant after abandoning his characters with a shot from above.
Things over time change between the two: the footage in a way visually anticipates this kind of evolution with a series of “congested” shots, which capture the two while they are visiting the greenhouses. Soon after he declares he loves her, she wants to live with her. But that’s when she betrays him and confesses to her.
There is a new awareness in Emiko’s eyes that the director is immortalized in a nice close-up in the final sequence of the film; then the camera stops, the woman goes on the beach. Just as in the beginning to make headline headlines, the image of the sea returns to closing the woman’s emotional journey: a hint of the title of the novel perhaps, or even the clear evocation of the sense of muteness, and at the same time of power, of human feeling.