bamwc2 wrote: ↑Mon Jun 03, 2013 4:56 pmSandakan no. 8 (Kei Kumai, 1974): Having never heard of Kei Kumai before watching this gem, I had no idea what to expect heading in. What I found was an emotionally rich and wonderfully rewarding story of the bond formed between two generations of Japanese women as the elder recounted he experience as a sex slave in Borneo and the rejection that she faced upon returning to Japan (a theme very similar to the experiences of Masuo's mother in The Ceremony). The melodrama is layered very thickly here, but all three of the film's main actresses do a superb job bringing humanity to their roles and preventing the film's message from ever devolving into utter sap. The end result is better than any individual components of it, and strikes me as a terrifically moving experience. For a diametrically opposed take, see Janet Maslin's scathing review.
Sandakan No. 8 is on Criterion Channel, and I watched this after finishing (almost all of) Kinuyo Tanaka's films as a director. Think I agree with bamwc2 more on the performances, all three women were great in their roles, particularly Tanaka, but I just couldn't take my eyes off Kumiko Kurihara. Now I want to watch Melodies of a White Night (1977) which I've heard is a 1970s Russian/Japanese version of In the Mood for Love and maybe should be on this list too.Michael Kerpan wrote: ↑Mon Jun 03, 2013 8:03 pmThere were aspects of Castle of Sand (really _bowls_ not castle, btw) I liked -- but I found this the least satisfying of the Nomura films I've seen. The book (called Inspector Imanishi Investigates in English, for some reason) was much more satisfying. My favorite Nomura so far is Harikomi (The Stakeout) -- but that came in the 60s. Yamada's Flag in the Mist / Kiri no hata (English novel is called Pro Bono) is as at least good as Harikomi -- but also came out in the 60s.
The parts of Kumai's Sandakan no. 8 that featured Kinuyo Tanaka were fabulous, but I found all the other parts of the film comparatively crude and dull. It was as if she energized and inspired the whole team when she on hand. Worth seeing in order to see Tanaka in one of her last roles.
But I also agree with Michael that the flashbacks in Sandakan No. 8 (i.e. not including Tanaka) lacked the same impact and felt a bit like a cruder Memoirs of a Geisha, but they were serviceable and distinct in stylization enough that it made the modern scenes with the faux mother-in-law / daughter-in-law relationship stand out even more.