[ Directed by ]
[ Produced by ]
[ Cast ]
* Nahana YUASA Yoshiko
* Hitomitoi NAKAJO Yuriko
* OSUGI Ren ARAKI Shigeru
[ Staff ]]
* Original Story: SAWABE Hitomo
* Original Story: MIYAMOTO Yuriko
* Screenplay: YAMAZAKI Kuninori
* Cinematography: OYAMADA Katsuji
* Production Design: OKUTSU Tetsuo
* Music: YOSHIOKA Shigemi
[ Production Company ]
[ Distributor (Japan) ]
Release Date: October 22,2011
Running Time: 102 min
Genre: Drama, Feature
Screening Format: 35mm
Screen Size: American Vista (1:1.85)
Sound Processing: Dolby SR
[ Story ]
A drama based on a true story about a little-known love affair between Yuasa Yoshiko, a translator of Russian literature, and Nakajo (nee Miyamoto) Yuriko, a novelist who was also married to the leader of the Japanese Communist Party. Its director is Hamano Sachi, who has achieved an unprecedented feat for a female filmmaker in helming over 300 pink films. In 1924, young author Nakajo Yuriko (Hitomitoi) meets magazine editor Yuasa Yoshiko (Nahana), who openly declares that she is a lesbian. When Yuriko’s husband Araki (Osugi Ren) learns of the powerful attraction that the two women feel for each other, he is severely shaken.
[ Official Site ]
Sachi Hamano is a legendary figure in the pink eiga world. Wakamatsu collaborator for some years, since 1971 began directing career that will bring it to carry more than 300 jobs. But Hamano is also a producer, in short, a woman who among other things has been able to impose his skill and his ideas in a world that is usually reserved for men only. For some ‘time in this part Hamano is venturing even outside the genre that launched.For example, the 2006 Cricket Model , with which he adapted for the screen three stories of Japanese writer Ozaki Midori. Even with his latest work reviewed here, the director deals with the scandalous story, for the time in which the events took place (the 20s and 30s of last century), two literate women and their love relationship . It is Yuasa Yoshiko (1896-1990), translator and scholar of Russian language and culture, and Chujo Yuriko (1899-1951), writer. The first avowed lesbian, as far as we could declare at the time, who lives in a geisha in Kyoto, the second regular married to a professor known in America. And ‘this is the situation from which the movie taken directly from two texts: Nobuko , a Chujo novel, and a series of interviews given by Yuasa shortly before his death.
We are in the thirteenth year of the Taisho period (1924) when the famous writer Nogami Yaeko makes known the two women. Among them is established from the outset a strong relationship of friendship that gradually turns into a true feeling of love is right. From Tokyo, after breaking up with her husband, Yuriko moved to Fukushima by her grandmother, where it will be achieved immediately by Yoshiko but also occasionally by her husband who try in every way not to lose it.
In the first part of the film does not take off particularly mainly because of a sound imperceptibly out of sync and not very high quality and I fear that this is not a defect of the projection room where I saw it. The places described in the film, also, the garden of a villa, the house of Yuriko and external, are not much etched in memory, as well as do not help much to create the atmosphere of the time you would expect from a movie gender. Despite all this, it is a job that has its own charm and its own force that slowly emerge in the second half. The viewer is in fact slowly dragged into the loving relationship between the two women, and this is already a more than good reason to see the film. Since, as mentioned above, taken by the interviews of Yuasa, the film focuses on the personal and psychological aspects of the relationship between the two women and has little interest in creating an atmosphere that brings you back and evokes the Taisho period.
The best parts are to be so close-ups of the faces of the two girls and their reflections, indeed one might almost say that the whole film is based on these two aspects. In this the Hamano was good. Among the actors, especially Toi Hitomi, singer here on his debut in the role of Yuriko, together all’interpretazi one male Nahana, manages to demonstrate clearly the personality difference between the two women and the couple’s chemistry on which all the story advances. On the contrary, the cast does not shine some support, apart Dōguchi Yoriko in the shoes of the common writer friend. Especially the husband is too caricaturist and, if it is true that it is probably a choice designed to ridicule the male figurein full due to the soul of the feminist Hamano, the fact remains that on occasion seems really an attitude a bit ‘too much that is likely romper and feel of the film. The style in which the film is shot is fairly flat and without any particular espressivismi whatsoever, even this made a choice to allow the viewer to concentrate on pure storytelling and the relationship between the two protagonists. It changes log only in the last minute when a scene Dream Hamano uses oblique angles, colors accesissimi and guess the location of the room with two or three close up on Yoshiko face. Ultimately, even if it is not a ‘work entirely successful and that at times it almost seems incomplete, it is important for both the choice of the theme dealt with and for the ability to bring to the fore a history as significatica how little known, even in the’ archipelago Japanese itself. [Katsuyuki Nakanishi]