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Onibaba (1964)
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Genre:
Drama / Horror (more)
Plot Summary: After enlisting as a volunteer in a war in 14th century Japan, his wife and mother remain living in a swamp...
(more)
User Comments:
Worthwhile-Recommended
(more)
User Rating:
8.0/10 (203 votes)
Also Known As: Demon, The (1964) Devil Woman (1964) Hole, The (1964) Ogress, The (1964) Witch, The (1964)
Runtime:
103 min / Argentina:105 min
Country:
Japan
Language:
Japanese
Color:
Black and White
Sound Mix:
Mono
Certification:
Argentina:16 / Finland:K-16 / Sweden:15 / USA:Unrated
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ONIBABA |
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User Comments: Date: 6 February 2001 Summary: Worthwhile-Recommended
Onibaba marks my introduction to Japanese horror. The fact that prior to
this film I had not seen any is due to availability not personal choice.
For a Japanese film to have sufficient exposure in the UK it must seemingly
fall into one of five discrete categories. Be directed by Akira Kurosawa;
be a martial arts film (specifically Bruce Lee or Jackie Chan); be a
manga/anime film; involve the Yakuza/crime (especially Beat' Takeshi films
or any film paid homage to' by Quentin Tarantino; finally, feature Godzilla
and his chums. Horror falls into none of these four, so when Onibaba was
screened recently I happily took the demon (nee bull) by the
horns.
The setting is medieval Japan, a country torn asunder by civil war. Samurai
warlords have conscripted most local men to fight in their personal feuds.
The remaining people are forced to live off the spoils/chaos of war. The
story focuses on two women, an ageing woman and her young daughter-in-law.
They have found their own niche in the chaos to murder and rob any passing
soldiers fatigued from battle. The armour and weaponry gained is bartered
for food. The bodies disposed of in a dark, ominous hole. One day the
son's companion returns, disrupting the bloody routine of the women's lives.
The darkness of the hole pervades the subsequent events.
Onibaba is primarily a drama concerning the inter-relationships between the
three protagonists. The horror component is less explicit. It exists in
the film's atmosphere, spreading outward from the hole, and manifesting in
the supernatural' events that gradually unfold. The repeated shots of
grasses blowing in the wind, the crows that have picked clean the bodies in
the hole, and the expressionistic music add to the dark
ambience.
*spoilers*
Of the four film types mentioned initially, Onibaba is, by far, closet in
spirit to the films of Akira Kurosawa. The medieval setting, the samurai,
the sharp b/w cinematography, are all reminiscent (and I assume influenced
by) Kurosawa films such as Seven Samurai and The Hidden Fortress. But in
such films the main characters (and samurai) are typically people of honour
and decency. The characters in Onibaba are their antithesis. No one is
honourable or moral; all have been corrupted by the war. Butchery, theft,
deceit and exploitation (note how the man gets a much better deal from the
trader than the women) are commonplace. The samurai are referred to as
warmongers and murderers rather than men of chivalry.
The protagonists lead a monotonous life of scavenging, eating, sleeping and
daily chores. The only respite from this materialises in the form of sex.
The films attitude towards sex and nudity is refreshingly mature compared to
Western films of the same period. The exception being the black circle
censoring the woman's crotch in one scene. Apparently the Japanese censors
have a continuing problem with pubic hair (on film that is!). The film
explores the themes of desire, repression (from both religion and society),
the loss of desirability due to ageing, and sexual frustration/denial. At
one point sexual frustration culminates in an act of dendrophilia (note the
tree used is dead and barren).
The inherent social and personal malaise of the story takes form towards the
finale. The moral bankruptcy of the characters is epitomised in the films
final line of dialogue. The hole wins.
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