Swastika (1964) User Reviews

An aesthetic triumph from a highly accomplished director

[fertilecelluloid · 8/10 · 17 November 2005]

Another aesthetic triumph of obsession from the accomplished director of "Blind Beast" and "The Razor 2: The Snare" -- to name only two of his 60+ films.

It is a tale of love gone mad, a visually sumptuous melodrama told in flashback by Kyoko Kashida, who plays a bored, cashed-up wife (Sonoko) who falls hard for the beautiful, manipulative, engaged Mitsuko (Ayako Wakao). Her fanatical love and jealousy create massive fissures in her marriage, even triggering unpredictable, outrageous changes in her husband Eijiro (Yasuke Kawazu).

The soap opera-like machinations of what, for a time, is a quadrangle of love and possession, are fascinating to witness thanks to the solid, audacious screenplay from writer Kaneto Shindo, the director and writer of the classic "Onibaba".

Some visual passages of the film -- bodies shot through rippling fabric, shadows dancing on flesh, restrained, delicate love scenes of steamy eroticism, the use of an elegant score -- made me think that the film probably influenced the look and tone of Hong Kong director Wong Kar Wai's "In The Mood For Love".

The love of "Manji" is a doomed, impossible ideal that can not exist in harmony with anything else. Director Masumura adheres strictly to this viewpoint until the final, tragic revelation.

To our Goddess Mitsuko

[Meganeguard · 7/10 · 3 August 2006]

Within his large body of work, the noted Japanese novelist Tanizaki Junichirou became renowned for the pure sensuality and eroticism. In "A Portrait of Shunkin the servant of a blind samisen player blinds himself when his mistress's face is marred. In "The Bridge of Dreams" a young man is told by his father to accept his new stepmother as his own and he goes as far as to nurse at her breasts and in "Mr. Bluemound a man goes as far as to create perfect reproductions of a man's wife, including such bodily excretions as mucus and feces. However, one of Tanizaki's most famous, or infamous, creations is that of Naomi, a novel about a modern girl with Eurasian features who wields control over the men in her life with her beauty. The story this film is based on is similar to Naomi, however, instead of seducing only the husband, the wife is seduced as well. Actually this is incorrect, because the wife is actually seduced before the husband.

The film opens with Kakiuchi Sonoko, Kishida Kyoko, visiting the home of a writer stating that she wishes that she was a better writer so she could write out her experiences for him in novel form. She then begins to tell him of her stormy affair with the statuesque Tokumitsu Mitsuko. Already infatuated with Mitsuko, rumors begin to spread around the Woman's school Sonoko attends that she is having an affair with Mitsuko. Finally getting a chance to talk to Mitsuko, the two women decide to become the best of friends instead of keeping their distance from each other. After Sonoko shows her a portrait she drew of her as the Goddess of Mercy, Mitsuko states that it does not look exactly like her. Sonoko then asks the beautiful woman if it would be okay for her to paint her in the nude. Mitsuko agrees and sometime later goes to Sonoko's home and disrobes herself and covers herself with a sheet. Infatuated with the idea of seeing Mitsuko's completely nude body, Sonoko rips off the sheet revealing Mitsuko's flesh and so begins there affair.

Things seem to be going well at first, despite Sonoko's husband becoming more and more suspicious of Sonoko's relationship with Mitsuko, but one night Mitsuko calls Sonoko and asks her to bring her some clothes. Not only clothes for herself, but some clothes for a man as well. It is that night that Sonoko learns that Mitsuko has a fiancé named Watanuki. Wanting to break off the relationship, Sonoko promises her husband that she will be completely true to him, but soon Mitsuko comes back into her life and the life of her husband as well.

The first of three filmic versions of Tanizaki's story, the second came out in 1983 and a latest having been released this year, the 1964 version of Manji succeeds on a few levels despite a rather shaky plot. The love making scenes are handled very well by showing plenty of flesh without showing the naughty bits and the bare skin his highlighted by juxtapositions of light and shadow. Also, Kishida Kyoko, who played the woman in Woman of the Dunes, does a truly astounding job of acting. While some of his other films might be better known, Masumura's Manji shows the work of a truly original filmmaker.

classic of 60's Japanese cinema is a real treat

[christopher-underwood · 8/10 · 22 March 2007]

Directed and shot with some style, this is a rather lovely tragic drama involving a quartet of characters.

Very Japanese in it's thrust and preoccupations this well told tale pleases and surprises as it unfolds ever unpredictably.

There is much talk of love and betrayal, forgiveness and of course suicide.

The scenes involving the taking of the powders from the bright red squares of paper are astonishing.

Ever beautiful with effective music this not overlong classic of 60's Japanese cinema is a real treat.

Obsession spiralling out of control

[chaos-rampant · 22 April 2009]

You know what ground you're treading with Manji from the get go. From the swastika (the titular Manji) that announces the film's title, there's nothing understated about it. The story of lesbian love between the middle-class wife of a lawyer and a strikingly gorgeous model who poses for painters at the centre of Manji is not of the suggestive 'glances and gestures' variety, this is not a drama on homosexual love repressed by a rigid Japanese society, rather a soaring melodrama masquerading a seemy underbelly of lies and morbid obsession.

It's true that the movie requires on the part of the viewer a few jumps in logic. It asks him to accept that two complete strangers become so obsessed with each other in a matter of days. But this is a two hour movie neatly crammed in 90 minutes so the narrative economy is not wasted. Out of the sweet, alluring love affair between the two women director Yasuzo Masumura twists a progressively more nightmarish, demented scenario, a convoluted story of fatal obsession, the addiction to a perverse love, the need to control and be controlled and how quick humans are to elevate other humans to a pedestal, eager to worship and die for them.

If the movie seems to be twisting and writhing under the burden of its own narrative weight, with small alliances, blood oaths, rifts and reconciliations and all manner of cajoling and petty chicanery taking place between the four major participants (the two women, the husband of one and fiancé of the second) as each tries to win the object of his desire or fend someone else from doing so, stick with it. Masumura has paced the film and shaped his story so expertly that, by the one hour mark, this tale of domestic treachery has spiralled out of control into full blown paranoia, a bizarre and creepy psychological horror film of sorts that happens so naturally and feels so perfectly plausible at that point as to excuse the more overwrought tendencies that preceed it.

The movie reflects that kind of claustrophobic obsession on every level. Limited cast, tight shots, static camera, close grouping of the actors in the frame, no exterior shots, monotonous piano score. Any way you see it, this is a minor aesthetic triumph for Masumura. Strongly recommended.

A Nutshell Review: Manji

[DICK STEEL · 6/10 · 28 August 2009]

If I can make a Hollywood reference for Manji, I'd suggest it's a little bit like Closer, except that it's a lot more intense with its expressions of love and lust, and extremely manipulative characteristics built into its four lead characters, each faced with selfish desires and dilemmas, centred around things like blackmail, suicide pacts and adultery.

Housewife Sonoko Kakiuchi (Kyoko Kishida) narrates her tale to a stern looking man (A cop? A biographer? A shrink even?) who maintains his silence throughout that it seemed a little creepy. From nowhere in her account of her tale did this chap feature in it, so one can only wonder that he must be someone significant enough to warrant her to spill the beans to.

Being victims of art school gossip, Sonoko and Mitsuko (Ayako Wakao), the pretty daughter of a wealthy industrialist and a fellow student in Sonoko's school, decide to take one step forward in killing off malicious talk, and that is to play along to make it all seem real to quash delight in talking behind someone's back. A short trip to Nara later, and the duo seem to have clicked and hit it off like best pals with common interests.

Soon their friendship ventured into some crazed sexual obsession, especially when Mitsuko's model looks and figure drive Sonoko wild with envy and strange desire, paving the way for some lesbian moments. And as if their passion for each other isn't enough, soon they are joined by Kotaro (Riji Funakoshi), Sonoko's questioning husband, and Watanuki (Yusuke Kawazi) the clingy fiancé of Mitsuko. Various threesome relationships soon start to form, with credit going to magic powder that contributed to blending reality and fantasy, and Sonoko and Watanuki engaging in a blood pact of sorts in a strange ritual to possess their object of desire in Mitsuko to themselves.

For all the characters' cunningness, especially in master manipulator Mitsuko and the equally shady Watanuki, I was half expecting some of its plot elements to venture into a more conventional, and material blackmail and ruin with contracts so casually signed and sealed (in blood), but I guess director-in-focus for the festival Yasuzo Masumura had other ideas, opting for the psychological and the emotional turmoil that each of the characters face. There's this tremendous trust-mistrust emotional ping pong that the characters go through which will keep you constantly questioning and probing their intent and hidden agendas. To me the actual highlight is exactly these mind games the four characters play, the tussle to gain upper ground to fulfil their personal wants, brought to life excellently by the actors themselves that will keep you engaged all the way to the finale.

For those looking forward to its exploitative moments, this is not that film. Comparing it to its genre peers, Manji seemed a little tame, where sexual acts are mostly implied and nudity falling victim to strategic cover-ups. I suppose that the lip locks too didn't actually happen and had to rely on camera angles, and body doubles aptly used in the gazing of the naked flesh. But then, the largest sexual organ is firmly in top gear here, not as a stimulant but as a weapon in coming up with conniving schemes to gain the upper hand, which in itself is a horrific thought since we are all innately capable of falling prey to temptation enough to design plans that hurt.

The festival films thus far had steered clear of the more conventional thought of the themes presented, and clearly it's an eye opener as to how many more films could fit into the themes in an unorthodox way. One thing though, from last night's screening and today's, artists or artists wannabe have been shown as souls willing to engage in deviant acts in the name of their art, and more so too in satisfying their strange fetishes. I look forward to see what more is in store in the subsequent screenings!

Complex characters, thoughtful examination

[Jerry-Kurjian · 7/10 · 25 August 2005]

'Manji' is a film worth seeing. Written by Kaneto Shindô (of 'Onibaba' fame) and based on a novel by Tanizaki (of 'Some Prefer Nettles' fame), the story chronicles the decent/ascent of the unhappily married woman, Sonoko, into an obsessive/liberating relationship with another woman, Mitsuko, associated throughout the film with the goddess of mercy. While all of the main characters' emotions run high, placing 'Manji' firmly in the genre of melodrama, the emotional intensity is always tempered with an element of sly humor. Both Sonoko and Mitsuko have complex motivations, and each is keenly aware of the machinations of the other, ensuring that the story is about passion, weakness, and love, and not about unexamined emotions and victimization.

Deliciously overripe

[NeelyO · 10/10 · 7 August 1999]

What do you get when you combine early-60's hairdo's and makeup, histrionic Japanese love triangles and forbidden lesbian passion? In this case, a wonderfully bonkers movie that deserves a larger cult audience.

Any movie that features blood oaths, suicide pacts, taboo love affairs and a wife screaming "You don't love me enough! I need more love!" is one I'll want to see again and again. (Too bad it's so hard to come by in the U.S. -- the film screened recently at the American Cinematheque and Outfest in L.A., and at the San Francisco Gay/Lesbian Film Festival, but apparently only after much paperwork with Japan. Still, if you actually get a chance to see it, DO NOT MISS IT!

A Bizarre Romantic Drama

[Uriah43 · 6/10 · 16 September 2023]

This film essentially begins with a bored housewife by the name of "Sonoko Kakiuchi" (Kyoko Kishida) deciding to fill some time by taking some courses at a nearby art school. While there she happens to notice another art student named "Mitsuko Tokumitsu" (Ayako Wakao) and immediately falls in love with her. So much so, that she even transposes Mitsuko's face onto a portrait she was drawing of a female model in her class. It's during this time that the principal of the school notices her artwork and immediately recognizes the difference and remarks about it in front of the class. Needless to say, this causes quite a bit of gossip among the other female students who quickly speculate about a romantic involvement between the two--even though Sonoko has never even spoken to Mitsuko at that time. So, to remedy that situation, Sonoko eventually summons enough courage and introduces herself. Not long afterward, the two become lovers. Naturally, it isn't too long before Sonoko's husband "Kotaro Kakiuchi" (Eiji Funakoshi) and Mitsuko's fiancé "Eijro Watanuki" (Yusuke Kawazu) realize what is happening--and things immediately take a turn for the worse from that point on. Now, rather than reveal any more, I will just say that this was a bizarre romantic drama which clearly benefited from the acting of Kyoko Kishida and the beauty of Ayako Wakao. Admittedly, it starts off a bit slow and features some typical Japanese overacting at times, but even so, I enjoyed this film for the most part, and I have rated it accordingly. Slightly above average.

Well-Done Study On Love, Obsession, And Betrayal...

[EVOL666 · 8/10 · 12 September 2006]

Having only seen two of Masumura's films (the 2nd HANZO THE RAZOR installment - THE SNARE, and BLIND BEAST), I wasn't really sure what to expect from MANJI. I liked the other two films I'd seen very much - and hoped this one would be equally good. I will say I was expecting something a bit more "erotic" - more along the lines of BLIND BEAST - but what I got was a very interesting story of obsessive love that was light on the sleaze/nudity, but pulled me in to an intriguing web of a storyline.

Sonoko is a relatively wealthy house-wife who has a crush on a female schoolmate named Mitsuko. The two begin an obsessive relationship that turns sour when Sonoko's husband finds out about the relationship, and Mitsuko reveals Sonoko is not her only lover. Things go from bad to worse as the deceptions and obsessions pile up, resulting in a train-wreck of a climax...

MANJI is not what I was expecting. I figured on a more straight-forward pinku-style entry and got something else completely. I should have figured after the extremely artful BLIND BEAST that this would not be a run-of-the-mill Japanese exploit film - and I must say that I was pleasantly surprised how this one turned out. The story was a bit far-fetched at times (the brother/sister blood-contract comes to mind...) - but overall MANJI is a great film full of interesting and unforeseen twists. My only real gripe is that I would have preferred more nudity (as always...) - they could have shown some spicy scenes between Sonoko and Mitsuko - but even so, this one is entertaining on storyline alone. One of the more "interesting" films I've seen in a while, and seems pretty ahead of it's time for 1964. Definitely recommended...8.5/10

A complete waste of Ayako Wakao's talent

[TooKakkoiiforYou_321 · 2/10 · 7 October 2021]

Snooze inducing story, pathetically unrealistic dialog, the only saving grace of this turd is the person I mentioned in the review title (my favourite actress of all times as of now) being superb in the material she's handed, but other than that this is no A Wife Confesses nor Irezumi and it shows. Avoid safely for other movies by the same Yasuzo Masamura and you'll be better served.

Mitsuko – my favorite woman from Tokyo

[Eric-1226 · 9/10 · 9 June 2010]

I really love this film, for no better reason than to watch, eyes agape and heart throbbing, at the beautiful performance of Ayako Wakao as Mitsuko. Mitsuko is SO charming, seductive and sexy in this, that I almost pay no attention to the somewhat twisty plot of the movie. It has something to do with wily women working their wicked ways on each other and a couple of men in their lives. And it all ends up in a sort of crazy, tragic finale. But none of that really matters to me. What's important is to watch Mitsuko – truly one of the most charmingly seductive flirts to ever grace the screen.

I marvel at every breathless syllable, every sly tilt of the head, every deceitful flicker of the eyes that this woman carries out. Perfection! Nice hair, too! She is so fluid and natural, that one never entertains the notion that this is an actress performing a role. I've had the opportunity to see Ms. Wakao in other films, where she can be much more cold and reserved, so this performance of hers in Manji was truly a pleasant surprise, and really, quite a gift to someone like me who appreciates a woman's charm and beauty – in spite of the fact that, in this film anyway, it's all for the most manipulative of reasons.

I would add that there is excellent supporting work done by Kyoko Kishida (Sonoko) who plays opposite Mitsuko as the woman who falls irrevocably under her spell. Her final line at the end of the movie is so heart-wrenchingly memorable. (I couldn't help but think that it would have been great if they could have gotten Toshiro Mifune to play the part of her husband.)

The DVD from which I viewed this (2002 release, letterbox format) is a very nice transfer but for one small segment where, for some strange reason, the colors nearly vanished and the picture went to a near-sepia tone. The movie was beautifully filmed - thankfully in color - and features nice use of color in areas such as costumes and set design. And I'll just add one more gratuitous nod to the beauty of Mitsuko: the use of color ensures that she looks ravishing in her print dresses. One other area of note: the very effective background music. At times it has a rather somber, foreboding element, somewhat resembling the slow, deliberate piano intro of Rachmaninoff's Piano Concerto No. 2.

All in all a nicely done, memorable movie, but I'll always remember it for Mitsuko.

Interesting but...

[RodrigAndrisan · 3/10 · 14 May 2018]

...for me was very boring. I saw it only because I have a special respect for the Japanese film in general, especially for filmmakers such as Kurosawa or Mizoguchi, Ozu or Kobayashi, Kon Ichikawa, Kaneto Shindo, Hiroshi Teshigahara, etc. I was also curious as to where the subject will go. But in an hour and a half does not happen much, repetitive scenes, all told by Sonoko Kakiuchi, the main female character. The actors acting is OK, the other actress, Mitsuko Tokumitsu's performer, Ayako Wakao, is very beautiful, but everything is a big boredom. Kyôko Kishida, who plays the character Sonoko Kakiuchi, is the protagonist of Hiroshi Teshigahara's famous film, "Woman in the Dunes".

Piece of art

[athena-no-sainto · 8 December 2015]

Wonderful film based on the novel "Quicksand" by Juinichiro Tanizaki and directed by the great Japanese director Yasuzô Masumura, the film tells the story of a married woman who begins a sick and obsessive love relationship with a beautiful and ruthless young girl (played by a marvelous Ayako Wakao), that insane relationship will lead to a tragic ending ...

The movie tells a story about passion, love and betrayal, displaying tons of sensuality stylishly without need of being explicit...

The are too many other versions of this movie made years later but I highly doubt that they can come any closer to this piece of art...

MASTERPIECE

A stunning melodrama

[lainesux · 8/10 · 25 January 2018]

The cinematography, the actors, the symbols. Everything is perfectly placed to create a tale of lust, obsession, and betrayal. At first, I wasn't sure if I liked this movie. But toward the middle, the more the plot spun into what seemed like a million different twists I hadn't seen coming, the more and more I trusted this film knew what it was doing. I won't give anything away. But fans of Junji Ito's Tomie would approve of this one. //Little light on the gore though. XD

Sonoko Kakiuchi

[frankgaipa · 31 August 2002]

Lurid. Hysterical. Gaping improbabilities and plot holes. I thought this might be a must-see because of the presence of Kyoko Kishida, long-faced, thick-lipped, huge-eyed woman in Suna no onna made the same year as Manji and the bizarre nurse in Tanin no kao made two years later. Turns out her other-worldliness was Teshigahara's invention. She's had a much varied 44 year career, mostly away from us here. See Manji for Teshigahara's woman and nurse.

The other woman, despite a long, somewhat distinguished career, looks and acts like an Elizabeth Taylor stand-in tumbled out of Tennessee Williams land. But surely this is director Masmura's invention.

(Manji, by the way, is the Buddhist cross on the DVD box.)