Released: 1983
Length: 129 minutes
Producer: Toei
Director/Script: Shohei Imamura
Story: Shichiro Fukazawa
Cinematographer: Masao Tochizawa
Music:: Shin-Ichiro Ikebe
Cast:
Orin.................................................................................Sumiko SakamotoTatsuhei (Orin's elder son)........................................................Ken Ogata
Risuke (Orin's younger son)................................................Tonpei Hidari
Tamayan (Tatsuhei's new wife)................................................Aki Takejo
Kesakichi (Tatsuhei's elder son)...........................................Seiji Kurasaki
Tomekichi (Tatsuhei's younger son).............................Kaoru Shimamori
Matsu (Kesakichi's lover and Amaya's daughter)..............Junko Takada
Amaya (the village thief)..................................................Akio Yokoyama
Katsuzo (Risuke's eventual lover)......................................Shoichi Ozawa
Oei (the woman who sleeps with every man)..................Chieko Baisho
Story:
The film is based on two novels by Shichiro Fukazawa, who in turn based the novels on ancient legends. In the story it is the custom in certain mountain villages that at the age of 70, old people be taken to the slopes of Narayama mountain and abandoned to die. The time has come for Orin to go, but she is still in good health and a highly productive member of her family. The village is very poor, so it's a constant struggle to grow enough food to feed everyone. Consequently, much of the story revolves around that struggle, as well as Orin's determination to go to Narayama when it is her time. The climax of the story occurs when, according to village custom having the force of law, her elder son must carry her on his back to Narayama.
Awards: Cannes Film Festival Grand Prix, 1984
Commentary:
The Ballad of Narayama has been made twice by noted Japanese directors. Imamura's version followed Keisuke Kinoshita's 1958 version by twenty-five years, but although both films are faithful to the story, Imamura's is the more complex. (Kinoshita is famous for his ability to bring his audiences to tears; even today when his film Twenty-Four Eyes is shown, there will not be a dry eye in the house.)
Rather than merely focusing on the obvious sadness of Orin's death while she is still healthy and productive (to say nothing of being the smartest person in the village), Imamura acknowledges this aspect of the situation, then explores the complexities of life under scarcity and the beliefs that make abandoning one's parents to die on the slopes of Narayama seem not only necessary, but both natural and fulfilling.
As in Imamura's other films, sexuality plays an important role in his Ballad of Narayama. The tension between creation and decay in both man and animals forms an important theme of the film, and is reinforced by many images throughout the film. Note also the juxtapositions of tragedy and comedy.