Fulton2007
Joined Dec 2006
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Fulton2007's rating
I had no clue who was Kon Ichikawa till I came across the Burmese Harp. And once again it took me deep into Japanese cinema -and I knew Ichikawa will become a new addition to my list of Asian masters, both new ones and old ones.
Gorgeouslly photographed and brilliantly played by a winning cast, The Burmese Harp is one of the most astonishingly uncynical films to come out of the post-war era. It is also perhaps the most spiritual, philosophical and forgiving. This is a tough-minded work that doesn't flinch at showing the masses of decomposing corpses that lie in the wake of the war. That Ichikawa has managed to create something poetic and beautiful out of this is an achievement of highest order.
Strangley this movie also reminded me of Pan Nalin's Samsara; because as Nalin dealt with Buddhism and Sexual Desires to seek enlightenment, Ichikawa The Burmese Harp deals with Buddhism and violence to seek peace in our war-torn world.
Gorgeouslly photographed and brilliantly played by a winning cast, The Burmese Harp is one of the most astonishingly uncynical films to come out of the post-war era. It is also perhaps the most spiritual, philosophical and forgiving. This is a tough-minded work that doesn't flinch at showing the masses of decomposing corpses that lie in the wake of the war. That Ichikawa has managed to create something poetic and beautiful out of this is an achievement of highest order.
Strangley this movie also reminded me of Pan Nalin's Samsara; because as Nalin dealt with Buddhism and Sexual Desires to seek enlightenment, Ichikawa The Burmese Harp deals with Buddhism and violence to seek peace in our war-torn world.
I highly recommend this movie to anyone who loves great stories, who loves great cinema, who loves arts in its top form.
Teshigahara explores the achingly erotic when he shows the woman's body dusted in sand; we can imagine how it would feel to touch her, just as we can feel the grit on our neck and sand between our toes. And outside, Teshigahara cuts to sand periodically, to remind us that it has a life of its own. That alone is genius stroke...
The west ignored Teshigahara for so many years, that alone goes to show how much we poeple in the west need to discover Asian cinema on our own. I wonder how many gems are still out there to be unearthed...
Teshigahara explores the achingly erotic when he shows the woman's body dusted in sand; we can imagine how it would feel to touch her, just as we can feel the grit on our neck and sand between our toes. And outside, Teshigahara cuts to sand periodically, to remind us that it has a life of its own. That alone is genius stroke...
The west ignored Teshigahara for so many years, that alone goes to show how much we poeple in the west need to discover Asian cinema on our own. I wonder how many gems are still out there to be unearthed...
