Hottoceame The Age of Commercialism

VividSimon Simply Perfect

VeteranLight I don't have all the words right now but this film is a work of art.

Micransix Crappy film

MartinHafer "Double Suicide" is a film that reminds me strongly of "Yûkoku"--a film that came out three years earlier. Both are about a couple tragically fated to commit suicide together and both go beyond the fourth wall--at times showing that it is all really just a play with actors. And, both were strongly appreciated and embraced by Japanese audiences--something that is particular to this society. I really don't think a movie where the audience knows the couple who are the main characters will have to die by the end would create a lot of ticket sales in the West--especially when this is known by the audience before the film even begins. There is a beauty in suicide that is strictly Japanese--making these sort of films difficult to fully appreciate and understand."Double Suicide" begins with the fourth wall--actors readying for the movie, producers and directors discussing the locations, etc.. This is a highly unusual move and was done because this film apparently was originally a play--with a rather familiar theme for Japan. So instead of trying to hide this, the beginning pays homage to it and the film shows its stage roots various times throughout the story.The story involves a poor man (Jihei) falling for a prostitute (Koharu). His goal is to buy her contract and free her, but he just just can't manage it because his business is not doing very well. So, for most of the film Koharu broods--making her a very unsuccessful prostitute since no one wants to sleep with a woman who constantly talks about killing herself. As for Jihei, he broods as well and interrupts any potential clients from having sex with Koharu--as he's jealous. However, this cannot go one forever and you know that by the end of the picture both of the lovers will have given up on the idea of marriage and they will be dead.So is this any good? Well, since it won so many Japanese awards, the answer is an emphatic YES...provided you are Japanese. However, for other audiences it is far less satisfying--though you must admit that the film is well-constructed and very stylish. I see that Criterion has produced this DVD, so there must be some audience outside of Japan for it (after all, I am watching it and the few other reviews for the movie are all quite positive)...but it will definitely be a niche audience and I can't see this appealing to the average viewer. Not bad....just not particularly enjoyable due to there being little suspense about the ending (after all, it's "Double Suicide") and the film seems to drag in between. After having watched several hundred other Japanese movies, I just can't see this one as being among the best the country has to offer.

Brian Ariotti Stemming from a Japanese puppet play from the 1700's, Double Suicide stands tall and beautiful as a new wave love story similar to that of "Romeo and Juliet" on the surface. Masahiro Shinoda takes some risky strides in his directing by utilizing a series of dark "puppet master" characters to linger in the majority of all scenes alluding to the story in its earliest form. This concept manages to workout wonderfully by some miracle and really compliments the thematic elements of the film as we watch the cast manipulate one another or "pull each other's strings." The performances are all stellar in this film as Shinoda makes sure to direct each to have a very vacant and detached approach to their roles allowing their characters to fall into the deceit of one another. Jihei, (Kichiemon Nakamura), is perfect in his dark conviction of his immoral affair with a 19 year old prostitute (Shima Iwashita), while still attempting to maintain a healthy relationship with his too-loyal wife Osan (also played by Shima Iwashita). Osan takes the feminist's nightmare role of a wife whom stands by her husband's side and is supportive of his every wrong-doing. The prostitute, Koharu, balances the relationship by playing the role of a friend to the wife and promising to end her affair while professing her never-ending love for Jihei when Osan is out of the picture. Everyone shares a shifting balance of power, control, and love for one another really adding up to the thrilling climax of this film.Visually, this film is just as outstanding as is its narrative. The cinematographer plans his shots smart by finding the ideal balance for including the puppet masters in appropriate shots. This is a film full to the brim of wide and establishing shots with puppet masters cleverly tucked in the distant background of each frame opposed to using unnecessary close-ups. This is most similar to how puppet masters in the original puppet play productions would remain shielded in the darkness of the stage to remain being seen as little as possible.

chaos-rampant Based on a 18th century bunraku play (Japanese form of puppet theater) by Chikamatsu, Double Suicide revolves around the star-crossed love of paper merchant Jihei and courtesan Koharu. The problem in Jihei's case however is twofold. First he's a married man and second he can't afford to pay the brothel Koharu works in and redeem her. In the face of their unrequisite and impossible love, Jihei and Koharu decide to commit suicide together - the inevitably tragic conclusion the title refers to.Double Suicide is a three-act filmed play but it's director Masahiro Shinoda's command of the craft that transforms it into something more. Since the original is a bunraku puppet play, he opens the film with modern bunraku actors preparing for it and after the credits sequence switches the puppets for real actors.The puppet masters however remain present for the entire movie, dressed in black suits, looking all the same, mute and mostly motionless, like artificial props and part of the set decoration they're charged with changing. Indeed they remove and change sets, actively take part in the action and interact with the actors and even freeze narrative time for our convenience but the best part (and a testament to Shinoda's talent) is that they never call attention to themselves as a gimmick.They blend seamlessly with the combination of traditional and abstract painted sets and there are times you forget they're even present in the scene until they move. What they do mostly however is observe. Shinoda's direction is as usual perfect - enhanced by Criterion's pristine transfer, Double Suicide is a feast for the eyes shot in stark black and white, where the black is black and the white is white.Related to Shinoda's excellent directorial skills, a common conception about him is that he's a director easy to admire but hard to love. I think Double Suicide effectively combines the best of both worlds - the technical prowess of a master cinematician with a touching and tragic love story, with universal roots but a very traditionally Japanese approach - the conflict between duty (giri) and passion (ninjo).

Claudio Carvalho In 18th Century in Japan, the paper merchant Jihei (Kichiemon Nakamura) falls in love for the courtesan Koharu (Shima Iwashita), but he can not afford to redeem her from her master and owner of the brothel, since he spent all his money in the place with Koharu. Jihei's wife Osan tries to keep her husband with his two children and asks Koharu to leave him. The two lovers make a pact of double suicide to escape from the rigid rules of the Japanese society of 1720 and stay together after death."Shinjû: Ten no Amijima" is an extremely original movie, based on a Japanese puppeteers theater (called "Bunraku") popular play by Monzaemon Chikamatsu. The Shakespearian story of an impossible love is theatrically performed, inclusive with the presence of the "kuragos", the puppet masters that conduct the puppets in the "Bunraku". Although being much related to Japanese culture, this movie is a great experience for those like me that have interest in other cultures. My vote is eight.Title (Brazil): "Duplo Suicídio em Amijima" ("Double Suicide in Amikima")