Japanese Reviews Reviews

Film Review: The Ballad Of Narayama (1983) by Shohei Imamura

"The Ballad Of Narayama" tries to prove the fragility of human morality

By Raktim Nandi

is the only Japanese director to see his films win the prestigious Palme D'Or twice. The first of the wins came in 1983, with “.” An adaptation of Shoichiro Fukazawa's debut novel of the same name, the film is a winner of several more awards and much acclaim, including three wins at the Japanese Academy Awards.

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The story takes place in an isolated village in the 19th century. The senicidal practice of Obasute, the procedure of which involves carrying an infirm aged relative to a mountain to die, is an important part of the village traditions. In this particular village, one needs to turn 70 before being carried to a sacred mountain. Orin, played by , is 69, and spends her time readying herself for the one-way trip. She is not afraid to die; tradition condemns refusal of the trip. Her main concern is to find a second wife for her son Tatsuhei, who enjoys a loving relationship with her mother, as the family will have no woman in the house once she leaves.

Comparisons are bound to emerge between Imamura's adaptation of the book and a previous 1958 adaptation by famed director Keisuke Kinoshita, which garnered universal critical acclaim. The plot is essentially the same, being adaptations of the same book, and it is easy to notice the inspiration Imamura takes from his predecessor. Especially in the loving relationship between Tatsuhei and Orin, both Kinoshita and Imamura seems overwhelmingly gentle.

The similarities extend no more, as Kinoshita's wondrous studio approach does not match the brutal realism of Imamura. Right from the snowy opening sequence of the movie, Imamura displays his deck by showing the two aspects that become the definitive traits of the movie. In a beautiful opening scene, the beauty of nature merges with the savagery as seen in such unaltered surroundings. As the movie continues, the traditions of the village are gradually displayed one-by-one. Primordial in content, they do not pay heed to questions of morality. To the extreme poor, morality seems to be unwanted vehicles of unseen luxury. Sex represents birth and death represents the end of the existence that comes with birth. In the portrayal of a primitive society, Imamura is able to contrast death with sex, where he remains graphic, then reaches even further into the world of nature by displaying insects and animals in motion, reminding an experienced viewer of King Hu's 1979 supernatural epic “Legend Of The Mountain.”

“The Ballad Of Narayama” seems to be a divisive film in the extent of its critical acclaim, especially amongst audience with knowledge of the 1958 film. Imamura's direction seems to transport people to a different era and the glacial pacing of the movie is meant to acclimatize the viewer into the lifestyle of the villagers, but it never really lives up to the promise of the opening sequence. It only redeems itself in the final third, when moments of realization and sequences of sympathy trump any disappointment attached with the pacing.

Sumiko Sakamoto is no Kinuyo Tanaka, however, in a more realistic environment, her portrayal of Orin gains acceptance. is even better as Tatsuhei, a man torn between love and traditions, and seemingly the only one in the village who ever thinks of morality and existence. Shinichiro Ikebe's music provides drama at required moments and Masao Tochizawa's cinematography provides the film its realistic look. Tochizawa especially shines in the opening and ending scenes, easily the two most striking sequences in the film.

“The Ballad Of Narayama” tries to prove the fragility of human morality. What is right to a generation can be the utmost wrong to the next. Even if the predecessor is more loved, one can hardly criticize Imamura's approach as a totally disappointing watch, as the transportive quality is not without its share of merits

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