Kichiemon Nakamura is a paper merchant, desperately in love with courtesan Shima Iwashita and she with him, but she has five years left on her contract and he does not have the money to free her from it. He is also married -- his wife is also played by Miss Iwashita, who is married to the director of the movie, Masahiro Shinoda -- and so they speak about killing themselves together. In the meantime, their love has become common gossip.
It's based on Chikamatsu Monzaemon's 1721 joruni puppet play THE LOVE SUICIDES AT ANIJIMAI; a live performance soon followed. Monzaemon (1653-1725) was the son of a masterless samurai. It is uncertain when he wrote the first of his more than 130 plays, but his earliest known credit was 1683's THE SOGA HEIRS. He wrote for puppet plays and, until the middle 1690s, kabuki. He is widely thought to be Japan's greatest playwright.
This production acknowledges both forms. The play starts in a theater, with a producer speaking of the problems; some mannequin heads bespeak of the puppet drama. The rest of the movie is kabuki-like, with artificial-looking sets and masked stagehands in black to move props around, follow the lovers as their go about the course of their tragedy, and aid in their suicide. Their presence in the cinematic medium, which usually stressed naturism, gives them a weird, demonic purpose as the executioners of fate.
It's based on Chikamatsu Monzaemon's 1721 joruni puppet play THE LOVE SUICIDES AT ANIJIMAI; a live performance soon followed. Monzaemon (1653-1725) was the son of a masterless samurai. It is uncertain when he wrote the first of his more than 130 plays, but his earliest known credit was 1683's THE SOGA HEIRS. He wrote for puppet plays and, until the middle 1690s, kabuki. He is widely thought to be Japan's greatest playwright.
This production acknowledges both forms. The play starts in a theater, with a producer speaking of the problems; some mannequin heads bespeak of the puppet drama. The rest of the movie is kabuki-like, with artificial-looking sets and masked stagehands in black to move props around, follow the lovers as their go about the course of their tragedy, and aid in their suicide. Their presence in the cinematic medium, which usually stressed naturism, gives them a weird, demonic purpose as the executioners of fate.