In this riveting examination of mad love and social obligation set at the eve of the Russo-Japanese War, Okane (Ayako Wakao) returns to the small village of her youth where she endures the scorn and rejection of the townsfolk with sullen distemper. When Seisaku (Takahiro Tamura), the village’s “model youth,” returns from military service, the beloved patriot strikes up an unlikely romance with Okane, marginalizing himself in the process. Based on a story by Kojiro Yoshida and written by Kaneto Shindo, Seisaku’s Wife is a sensual tale of rebel love and wild obsession standing against the strict military demands of Imperial Japan.
Eclipse is a selection of lost, forgotten, or overshadowed classics in simple affordable editions. Each series is a brief cinematheque retrospective for the adventurous home viewer.
Best known for his unsentimental portraits of stubborn individuality bordering on madness, Yasuzo Masumura and his alluring queen Ayako Wakao constructed tales of strong-willed women resisting the repression and abuse of Japanese society. In these exaggerated tales of obsession and desire set in the restrictive confines of traditional marriage, Masumura explores the tragedy of true love and devotion, the liberating power of eroticism, and the sacrifices demanded by corporate living and Japan’s post-war economic miracle. Wakao is irresistible in these four films, playing inviolable femme fatales whose sexuality and dedication leave them unmanageable to the culture that surrounds them and cruelly punished for their inability to conform.
The Most Valuable Wife (Saikô shukun fujin)
A formative work between Masumura and Wakao, the Mihara family’s three sons operate a trading company, with the eldest pair already married to daughters of the Nonomiya family, but when the Miharas’ youngest son Saburo (Hiroshi Kawaguchi) and the Nonomiyas’ youngest daughter Kyoko (Wakao) refuse to do the same, they raise the ire of their ambitious siblings.
A Wife Confesses (Tsuma wa kokuhaku suru)
Cited as one of Masumura’s masterpieces and the film that launched Ayako Wakao’s career, Wakao plays a young widow on trial for cutting her uncaring husband’s safety line during a mountaineering holiday and murdering him to pursue the affections of a younger man (Kawaguchi) and collect five million yen from her husband’s life insurance.
Seisaku’s Wife (Seisaku no tsuma)
In this antimilitarist portrait written by Kaneto Shindo and set during the Russo-Japanese war, a sullen woman (Wakao) ostracised in her small farming village falls into a mad, obsessive affair with the town’s favored son (Takahiro Tamura), a relationship that ultimately dooms them both.
The Wife of Seishu Hanaoka (Hanaoka Seishû no tsuma)
This portrayal of true-life physician Hanaoka Seishu (Raizô Ichikawa), the first doctor to use general anesthetic, pits his ardent but suffering wife (Wakao) and his harshly devoted mother (Hideko Takamine) as competitors offering themselves as subjects for his surgical experimentation.
With notes by Jonathan Rosenbaum
The Criterion Collection, a continuing series of important classic and contemporary films presents Ninja Hunt.
When the corrupt Tokugawa shogunate seeks to abolish the Matsuyama clan during a transition of power and seize its wealth, it deploys its sinister Koga ninja to destroy an official proclamation that would confirm the clan’s new heir. Aware of the shogunate plot, the Matsuyama clan hires four ronin whose clans were dissolved in similar plots and charges them to protect the proclamation and ferret out the ninja spies by any means. These masterless samurai, led by the elder swordsman Wadakuro (Jûshirô Konoe), pursue their vengeance against the Koga ninja with brutal and single-minded intensity. A masterpiece of the ninja film craze of the 1960s that remains little known outside of Japan, Tetsuya Yamauchi’s first film is a highly suspenseful and bitterly violent thriller.
- High-definition digital restoration, with uncompressed monaural soundtrack on the Blu-ray edition
- New English subtitle translation
- PLUS: A booklet featuring a new essay by film scholar Alain Silver and critic, novelist, and musician Chris D.