Πέμπτη, 13 Αυγούστου 2009

INSECT WOMAN (1963, SHOHEI IMAMURA)




INSECT WOMAN seems to be Imamura's trojan horse in the world scene. Not the stunning debut of a young up and coming director that catches everyone unawares because Imamura had quite a few films under his belt by that point and not even the film that cemented his reputation because if critical recognition and prestigious awards predate rather than follow public awareness then Imamura is only in the past 10 years beginning to earn his due. But with INSECT WOMAN he emerged not only as a preeminent auteur and bright hope of the Japanese Nuberu Bagu movement, a director who would be twice decored with the coveted Palm D'Or in later years, this perhaps a status that is often subliminally associated with notions of a haughty intelligenzia hermetically removed from the populus whose struggles and follies it purports to address, but also an artist equal parts humane and cynic who picks his characters from the lowest strata of society and examines their lower instincts with care and affection. Indeed moral judgement is absent from the film. The life and misadventures of a poor farmer's illegitimate daughter who travels to Tokyo and becomes first a prostitute then the owner of a call-girl service is observed in a matter of fact way. He never allows the movie to careen in melodramatic shallows and moralistic histrionics. If Imamura has a case to make and premise to prove, it's of a political nature. Spanning almost half a century of Japanese history, the story of Insect Woman parallels the rise and fall of Japan in the years leading to and after WWII. The rise from humble beginnings to power and the subsequent fall with the bitter feeling of having been betrayed by everyone. Like other Imamura movies, INSECT WOMAN can be tedious at parts, not because nothing happens because the movie is filled with characters and minor episodes but because little to nothing meaningful happens. Sprawling in nature and rarely stopping to examine motives and psychology, INSECT WOMAN even at its most intimate moments places a certain distance between viewer and film and in doing so allows for an often comedic tinge to seep in. As such, the film doesn't have some deep insight into human nature to depart but it's mostly pleasing to watch and Imamura's filmic language feels amazingly fresh and vibrant even to this day. The man was 20 years ahead of his time and his films have aged in all the right ways.

Δεν υπάρχουν σχόλια:

Δημοσίευση σχολίου