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Movie Title:The Ballad of Narayama
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Shohei Imamura did something extraordinary with his film ‘The Ballad of Narayama.’ Not only did he attempt to update a current Japanese sage, he was creating an alternate version of the established classic, made by Keisuke Kinoshita [see Twenty Four Eyes] at the height of his powers. Reverence for the venerable is a hallmark of Japanese society, so the mature tradition of mountain people of exposing their no-longer productive relations on a mountaintop to die is very gruesome to the Japanese. Kinoshita addressed the narrative in a very stylized diagram, distancing the viewer from the action and thereby making the actions of these abominable people somehow less awful. Imamura, in stark inequity, emphasized the savagery of the broken-down mountain society by parallelling it with the savagery of the natural world in which it, too, must survive. Imamura thereby makes the tradition seem somewhat inevitable and all the more inviting because of its inexorability. These people aren’t inhuman savages. They are survivors in a harsh environment. Imamura examines character so honestly that the people he depicts are revealed in their honest humanity, and their actions are shown to be all the more tragic. A triumph for Imamura.
“The Ballad of Narayama,” by director Shohei Imamaura, is a very depressing and haunting film. But that is not to say the film is not a mountainous film. The film deals with the harsh realities of life in a 19th Japanese village. This village is slight, and more importantly hunger-stricken. The community concerns of survival outweigh the morality of those who must gather their deaths when they approach the age of 70. The villagers in this 19th-century Japanese village must adhere to a very strict policy regarding population control if they are to survive. And what does this mean? Well for starters, the elderly are sent to die reach a mountain called Narayama when they advance the age of 70.
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This is not a gay film, for the most fragment, yet the viewer must understand that the very survival of the villagers depend upon survival in its most vulgar obtain. Stealing food in this village means instant death. Truly a disturbing film—yet we must not pass judgment, because for these villagers, their very lives depend on draconian measures. Because starvation is a chronic threat to the villagers, draconian measures must be adhered to. And in this village death is an approved fact of life. The first time I viewed this film I was very gloomy by it, however, viewing it again recently made me understand that these villagers must adhere to strict policies if they are to survive. It is too easy to pass judgment on there villagers: they must do what they can in order to survive. However, there is also humor in this film. But the rather gloomy fate of those who come the age of 70, and must regain their death, makes one forget about the funny parts [at least to me].
The cruel realities of this village are not lost on the viewer. And many may have a difficult time with this film. But it is at least worth a survey. [I occupy the VHS]. Although it is not one of those films one takes out too often for repeated viewings, it is one that everyone should thought at least once. The film centers on the life of one elderly woman named Orin (Sumiko Sakamoto) . She is now in her seventieth year of life, and must therefore prepare to die. Her son Tatsuhei (Ken Ogata) has the responsibility of taking his mother up to the sinful of Narayama to die. This is truly an unforgettable film. This self-sacrifice for the survival of the village will leave a lasting and searing image in your mind, especially as you idea Orin about to face her inevitable death. This is not a film one soon forgets after viewing. This film is highly recommended. [Stars: 4.5]
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