Released: 1969
Length: 104 minutes
Producer: Hyogensha/ATG
Director: Masahiro Shinoda
Screenplay: Taeko Tomioka, Masahiro Shinoda,
Toru Takemitsu
Cinematographer: Toichiro Narushima
Music: Toru Takemitsu
Cast:
Jihei..................................................................................Kichiemon NakamuraStory:Koharu & Osan...........................................................................Shima Iwashita
Tahei............................................................................................Hosei Komatsu
Magoemon....................................................................................Yusuku Takita
Yamatoya owner...................................................................Kamatari Fujiwara
Gozaemon...........................................................................................Yoshi Kato
Aunt.......................................................................................Shizue Kawarazaki
Osugi.................................................................................................Tokie Hidari
The film is a close adaptation of Monzaemon Chikamatsu's 1720 Bunraku drama Shinju Ten no Amijima (Double Suicide at Amijima). Like other stories in this genre, the film explores a central conflict in much of Japanese drama, that between giri (social obligations, duty) and ninjo (human feeling, personal desire). Jihei is a small-time paper merchant, married with two children. He falls in love with a courtesan (prostitute) named Koharu. Unable to redeem her from her master and sinking into despair, he finds suicide to be the only way for them to remain together. Unable to avoid being sold to a man she does not love, so does Koharu.
Commentary:
Double Suicide is both a very interesting story and a very interesting piece of film as art. It strongly reflects Japanese New Wave director Shinoda's theatrical background: He began his career by studying theatre, especially Kabuki. In Double Suicide he makes the supporting theatrical elements of the original Bunraku puppet play fully visible, instead of attempting to hide these. The irrationality of the underlying love affair is revealed by his use of the same actress to play both of the central female characters. You may also wish to note his economy in shooting the film--only about 240 shots are used, so the camera must move a great deal.
The copy of today's film is a stunning new digital transfer, much better than previously available versions of the film. This makes it easier for one to appreciate the effective way in which lighting is used in the film. And Toru Takemitsu's score, with its liberal use of theatrical elements, is also very powerful, contributing to the overall sense of inevitability. Remember: this is a film whose ultimate outcome surprises nobody. Yet in spite of the fact that Japanese audiences know this story by heart, it engages.