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    3. Kôchiyama Sôshun / Priest of Darkness (1936) [Re-UP]

    Kôchiyama Sôshun / Priest of Darkness (1936) [Re-UP]

    Posted By: Someonelse
    Date: 11 Apr 2015 11:16:00
    Kôchiyama Sôshun / Priest of Darkness (1936) [Re-UP]

    Kochiyama Soshun (1936)
    DVD5 Custom | VIDEO_TS | NTSC 4:3 | 01:21:33 | 4,14 Gb
    Audio: Japanese AC3 2.0 @ 384 Kbps | Subs: English (added)
    Genre: Drama

    Director: Sadao Yamanaka
    Stars: Chôjûrô Kawarasaki, Kan'emon Nakamura, Shizue Yamagishi

    Based on a well-known Kabuki drama titled "Kochiyama to Naozamurai", which Yamanaka distills into a masterpiece of jidaigeki (period film) as shomingeki (everyman drama), blending the two into something he apparently had rights to entirely in Japan during the 30s. Through a series of intrigues, Kochiyama, Naojiro (who becomes Hirotaro for the film), Ichinijo, and Hirotaro's sister Onami (played by a young Hara Setsuko) all pretty much have the worst day or two of their lives. This thoroughly pessimistic film isn't much of a surprise considering 1937's Humanity and Paper Balloons (a paper balloon, by the way, being played with by a child provides one of the most memorable scenes in this film, or any film, about half way through) but Million Ryo Pot (1935) seems impossibly optimistic in comparison, you'd almost think they were made by different directors (except for the perfection of course.) McDonald (who I've been reading a lot of lately, not on purpose, it just seems my interests are lining up with hers) surmises that the last two films are a response to the rise of fascism (especially the ni-ni rokyu incident) in Japan, and I can't imagine a better reason.

    If you have a chance to see this film, or any of Yamanaka's work, do so. They're enjoyable and stick in the back of your head forever. Unfortunately only three of his films survive, but I would rate them as some of my favorites. Ten stars and very highly recommended to everyone.
    IMDB Reviewer

    IMDB | Wikipedia

    Kôchiyama Sôshun / Priest of Darkness (1936) [Re-UP]

    Humanity and Paper Balloons is still the late Sadao Yamanaka’s greatest achievement, but this one isn’t far behind. It does take a more comedic approach, along the lines of Yamanaka’s 1935 film, Tange Sazen and the Pot Worth a Million Ryo, but also contains that dark downbeat pessimism that made Yamanaka’s last film so famous, relatively speaking, of course. Like the other two remaining films from Yamanaka’s oeuvre, this film manages to incorporate so many narrative tones that it seems to be the ultimate genre experience. This may sound like an insult to some, but it is anything but. Yamanaka’s work sit proudly alongside John Ford’s. Both directors were versatile, yet consistent, and both were undoubtedly the best filmmakers of their time.

    Kôchiyama Sôshun / Priest of Darkness (1936) [Re-UP]

    It’s difficult for me to write about any Yamanaka film without getting a little bit mushy. As most people know, only three of twenty three films survive today. A tragic scenario, but not nearly as tragic as Yamanaka’s far too early death in 1938. I hate to look at the glass half empty, but I do get this sad feeling watching all of his films that is brought on by the context of the film’s maker, rather than the film itself. That’s not to say this isn’t an emotive film, it’s just hard not to think about Yamanaka’s demise.

    Kôchiyama Sôshun / Priest of Darkness (1936) [Re-UP]

    Moving on from that deeply downbeat note, this film showcases just how much of a master Yamanaka was. Many people like to point out how different each of his remaining three films are, but I personally find that they all have much in common. It could be argued that Yamanaka was one of the first cinematic personalities to show some interest in deconstructing genre conventions, but that implies a slightly academic tint to his work. To my knowledge, no film in the 1930s did so. Rather than pointing out the shortcomings of genre films, Yamanaka explores their potential. This is a little bit like what Jacques Rivette does, but Yamanaka’s work is much different.

    Kôchiyama Sôshun / Priest of Darkness (1936) [Re-UP]

    If I had to sell Yamanaka by using one a comparison to a single director, I would still compare him to John Ford. Both (seemingly, in Yamanaka’s case) at a productive rate, churning out studio-friendly features filled with beautiful poetic touches. In 1936, Ford’s first really visually impressive talking film, Prisoner of Shark Island, was released. Although it wasn’t Ford’s most accomplished film of the 30s, it was the first of his talking pictures that signaled in a very noticeable visual style. Yamanaka seemed to progress at a similar rate. This film is one of his most beautiful, not to mention one of the best looking movies from the 1930s in general. Take, for example, the final fight sequence. It looks so unchoreographed and real, but every frame contains a Murnau-level of cinematic beauty. Are people convinced yet? They should be. This film is essential not only for those interested in the history of Japanese film, but also for those interested in the general progression of cinema.
    Cinema Talk
    Kôchiyama Sôshun / Priest of Darkness (1936) [Re-UP]

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