Eros and Thanatos, Love and Death command the dialectics of Life. By the end of 19th century in a remote Japanese village a young man and a married woman, older than he, fall in love with each other and decide to kill her husband to be free to enjoy their love. But they never enjoy that freedom since Remorse begins to haunt them beginning as usual at the time by the weakest member of the couple, the woman of course. Henceforth in an atmosphere where dream (nightmare) mixes up with reality the ghost of the murdered husband appears first to the woman but then also to the man. It also haunts the dreams of the other villagers creating a climate of suspicion and gossip around the couple which is aggravated by the arrival of a police officer that comes to investigate the disappearance of the murdered husband. But which makes this movie more interesting besides this almost common story of adultery is the evolution of the couple's feelings in a Shakespearean deep psychological and dramatic development of remorse, anguish and fear which turns their love relationship into a nightmare until their final doom. The expressionism so dear to Japanese theatre or movie acting is also present in the players' performances but not in an exaggerated form. Just only in the necessary measure to show more effectively the most deep feelings of the depicted characters. This is indeed a solid good movie.
29 Reviews
A Good, Sexually Charged Ghost Story
crossbow01063 May 2008
This is a film by Oshima, the director of the notorious "In The Realm Of The Senses", a film so sexually brazed and unabashedly controversial it was banned for a while. This film takes place initially in 1895 in Japan and stars the very pretty Keziko Yoshiyuki as Seki, the wife of a rickshaw driver who falls for a much younger man who woos her in kind. That man, Toyoji, comes to her as she was sleeping and seduces her, though she soon is rather willing to be seduced. Soon they are having an affair and plot to kill Seki's husband, to be together forever. They do, and throw him down a well. However, they didn't count on the ghost of the dead husband haunting Seki and others in the village! This film is visually very stunning, the use of shadows highlighting this tale of murder for passion. Ms. Yoshiyuki (who is still active as an actress) is especially very good in her role. Its sexual at times, but not like "In The Realm Of The Senses". Some of what ensues is up to our imagination. I found this film to have a consistency of mood that makes it very watchable. A little creepy but that goes with the territory. I'd recommend this.
Down the well
GyatsoLa13 May 2007
Warning: Spoilers
A genuinely creepy ghost story, full of chills and sensuality, this movie just falls short of what it promises. It is apparently based on an old ghost story, and perhaps relies a little too much on a simple premise. For most of the way, its imaginative and genuinely gripping, but at the end its almost like Oshima just lost interest in it, and brought it to a rapid ending.
The story is simple - a woman and her younger lover kill her husband so that they can be together. But their failure of nerve and his returning ghost condemn them to madness. Its beautifully handled, with imaginative set scenes, and the lovers passion is portrayed beautifully. But too often the movie fails to really deliver on its promise, almost as if Oshima loses his nerve in the same way the lovers do.
Its a worthwhile movie to watch just to see how Oshima combines his great skill as a film maker with some exploitation movie tricks to pull the audience along, but sadly its not a true classic in the mold of movies like Onibaba or Woman of the Dunes.
The story is simple - a woman and her younger lover kill her husband so that they can be together. But their failure of nerve and his returning ghost condemn them to madness. Its beautifully handled, with imaginative set scenes, and the lovers passion is portrayed beautifully. But too often the movie fails to really deliver on its promise, almost as if Oshima loses his nerve in the same way the lovers do.
Its a worthwhile movie to watch just to see how Oshima combines his great skill as a film maker with some exploitation movie tricks to pull the audience along, but sadly its not a true classic in the mold of movies like Onibaba or Woman of the Dunes.
Arty Love/Ghost Story
Rapeman1314 December 2008
Empire of Passion is Nagisa Oshima's follow up to his infamous 1976 film In the Realm of the Senses. Based on a novel by Itoko Namura, Empire details the love affair between a young soldier and an older woman.
Toyoji is becoming more and more obsessed with Seki, the wife of a rickshaw jockey. He begins by bringing her little treats and having tea with her while her husband is at work, then eventually works his way up to raping her. Of course, seeing as this is a Japanese film, Seki ends up enjoying the rape and falls head over heels for Toyoji.
The only problem facing the newfound couple's domestic bliss is Seki's husband, Gisaburo. Fortunately, Toyoji thinks of a solution - homicide. So the pair hatch a plan wherein Seki will ply her husband with sake, then when he is well and truly sloshed, Toyoji will pop in for a drive-by strangulation, thus leaving the two in peace.
Everything goes according to plan and the couple dump Gisaburo's body in a disused well. Now they are free to live happily ever after or are they? When the village-people begin to gossip about Gisaburo's death and his ghost starts appearing to Seki, her daughter and random townsfolk in their dreams and, finally, reality, Seki and Toyoji begin to get a little worried.
Intertwined with the doomed lovers scenario is a traditional Japanese ghost story. Gisaburo returns as a vengeful ghost and harasses Seki while having her serve him sake and gives her a ride in his rickshaw, but in the end gets his retribution.
Empire of Passion is an entirely different film than In the Realm of the Senses, for one it has none of the explicit sex, perverse fetishes or indeed the powerful emotional pull that Senses has (no penis-lopping here folks). It's true that both films portray fanatical love affairs and show the lengths two people bloated with love can go to but they do it in two completely different ways.
In contrast to In the Realm of the Senses, which had an obsessive/possessive female lead, Empire of Passion has a young male playing the role of the infatuated lover. But once Toyoji conquers Seki and has her all to himself he begins to loose interest and she becomes the insecure one. The couple of sex scenes that are shown are not shot from an intimate, candid angle like Senses but more from a voyeur's point-of-view.
All in all Empire of Passion is a decent portrayal of illicit love set against the gorgeous backdrop of the Japanese forest. See this if you have a fondness for arty love stories and/or vengeful ghost tales.
Toyoji is becoming more and more obsessed with Seki, the wife of a rickshaw jockey. He begins by bringing her little treats and having tea with her while her husband is at work, then eventually works his way up to raping her. Of course, seeing as this is a Japanese film, Seki ends up enjoying the rape and falls head over heels for Toyoji.
The only problem facing the newfound couple's domestic bliss is Seki's husband, Gisaburo. Fortunately, Toyoji thinks of a solution - homicide. So the pair hatch a plan wherein Seki will ply her husband with sake, then when he is well and truly sloshed, Toyoji will pop in for a drive-by strangulation, thus leaving the two in peace.
Everything goes according to plan and the couple dump Gisaburo's body in a disused well. Now they are free to live happily ever after or are they? When the village-people begin to gossip about Gisaburo's death and his ghost starts appearing to Seki, her daughter and random townsfolk in their dreams and, finally, reality, Seki and Toyoji begin to get a little worried.
Intertwined with the doomed lovers scenario is a traditional Japanese ghost story. Gisaburo returns as a vengeful ghost and harasses Seki while having her serve him sake and gives her a ride in his rickshaw, but in the end gets his retribution.
Empire of Passion is an entirely different film than In the Realm of the Senses, for one it has none of the explicit sex, perverse fetishes or indeed the powerful emotional pull that Senses has (no penis-lopping here folks). It's true that both films portray fanatical love affairs and show the lengths two people bloated with love can go to but they do it in two completely different ways.
In contrast to In the Realm of the Senses, which had an obsessive/possessive female lead, Empire of Passion has a young male playing the role of the infatuated lover. But once Toyoji conquers Seki and has her all to himself he begins to loose interest and she becomes the insecure one. The couple of sex scenes that are shown are not shot from an intimate, candid angle like Senses but more from a voyeur's point-of-view.
All in all Empire of Passion is a decent portrayal of illicit love set against the gorgeous backdrop of the Japanese forest. See this if you have a fondness for arty love stories and/or vengeful ghost tales.
Decently spooky and excellently made from a technical perspective
Jeremy_Urquhart1 June 2022
An atmospheric, grim, and often visually beautiful film about a man who has an affair with a woman, and convinces her they should murder her husband. Standard plot, but it's done well, and combines the inevitable "things falling apart after a poorly organised crime" stuff with an added horror element, as the murder victim returns as a ghost to haunt the small town the film takes place in.
Wasn't a fan of the horror element at first, as it felt like it wasn't entirely needed, but it grew on me. There are certainly a couple of scenes where the horror stuff is done well, and I guess whether it's a literal ghost or a manifestation of guilt within the minds of certain characters is still nice and ambiguous.
Maybe feels a little long in parts, and there's nothing outstandingly unique about it, but it tells its simple story well, has a great feel-bad kind of mood to it, and all the sets/locations/costumes/other visual aspects are all pulled off expertly.
Wasn't a fan of the horror element at first, as it felt like it wasn't entirely needed, but it grew on me. There are certainly a couple of scenes where the horror stuff is done well, and I guess whether it's a literal ghost or a manifestation of guilt within the minds of certain characters is still nice and ambiguous.
Maybe feels a little long in parts, and there's nothing outstandingly unique about it, but it tells its simple story well, has a great feel-bad kind of mood to it, and all the sets/locations/costumes/other visual aspects are all pulled off expertly.
She Wanted a Good Life
cwhaskell14 December 2010
Warning: Spoilers
What a curious film. I think I enjoyed it, but it's difficult to say. Plot aside, to me this is a story about vanity and selfishness blinding two individuals and guiding them to make ill-informed decisions. One of the most interesting lines in this film for me was when the daughter says that her mom wanted a good life when she was young. It seems that desire never left Seki (now a mom and the wife of a rickshaw driver), and she is immediately willing to follow the advances and promises of a younger man who offers her intimacy and (I'm guessing in her mind) a chance to start over. There is a period of calm and then chaos following a major decision Seki makes, and the way she handles the world crashing in around her is to be expected. What was surprising, and I think what ultimately redeemed this movie for me, was the lack of support she got from the one person she trusted to stay by her side. This forces her to face a decision she was never 100% comfortable making, and brings out the emotional torment she endures beautifully. There are moments in the film I didn't enjoy, but it's a very original take on an age old conundrum, and a very strong performance from the leading two actors. Rating 26/40
Passion, Crime and Punishment
arsalankazemian16 April 2013
Warning: Spoilers
"Empire of Passion" is a story of unbounded passion, crime, guilty conscience and eventual loss.
The story takes place in a Japanese village in 1895. The monotonous lives of Gisaburo, the husband, and Seki, the wife, is changed forever when Seki begins an affair with a younger man, Toyojo, who convinces her that they should kill her husband to be together freely. Gisaburo's murder is the beginning of the sufferings of Seki and Toyojo, who are driven to madness in their own different ways.
Director Nagisa Oshima interweaves into his horrifying story elements of Japanese culture, particularly the belief in the appearance of the ghost of dead people. In Empire of Passion, it is in fact the appearance of Gisaburo's ghost which drives the already-troubled Seki more and more towards madness, to the point where the boundary between reality and dream (or better to say nightmares) becomes blurred.
Some critics said Akira Kurosawa was depicting "hell" in his 1961 Yujinbo. I believe it might as well be said the same for Empire of Passion, in its own way.
The story takes place in a Japanese village in 1895. The monotonous lives of Gisaburo, the husband, and Seki, the wife, is changed forever when Seki begins an affair with a younger man, Toyojo, who convinces her that they should kill her husband to be together freely. Gisaburo's murder is the beginning of the sufferings of Seki and Toyojo, who are driven to madness in their own different ways.
Director Nagisa Oshima interweaves into his horrifying story elements of Japanese culture, particularly the belief in the appearance of the ghost of dead people. In Empire of Passion, it is in fact the appearance of Gisaburo's ghost which drives the already-troubled Seki more and more towards madness, to the point where the boundary between reality and dream (or better to say nightmares) becomes blurred.
Some critics said Akira Kurosawa was depicting "hell" in his 1961 Yujinbo. I believe it might as well be said the same for Empire of Passion, in its own way.
A Surreal and Supernatural Love Story
claudio_carvalho23 April 2006
In 1895, in a small village in Japan, the wife of the litter carrier Gisaburo (Takahiro Tamura), Seki (Kazuko Yoshiyuki), has an affair with a man twenty-six years younger, Toyiji (Tatsuya Fuji). Toyiji becomes jealous of Gisaburo and plots with Seki to kill him. They strangle Gisaburo and dump his body inside a well in the woods, and Seki tells the locals that Gisaburo moved to Tokyo to work. Three years later, the locals gossip about the fate of Gisaburo, and Seki is haunted by his ghost. The situation becomes unbearable to Seki and Toyiji when a police authority comes to the village to investigate the disappearance of Gisaburo.
"Ai no Borei" is a surreal and supernatural love story. The remorse and the guilty complex of Seki make her see the ghost of her murdered husband, spoiling the perfect plot of her lover. The cinematography is jeopardized by the quality of the VHS released in Brazil, but there are very beautiful scenes, inclusive "Ringu" and the American remake "The Ring" use the view of the well from inside in the same angle. The performances and direction are excellent making "Ai no Borei" a great movie. My vote is eight.
Title (Brazil): "O Império da Paixão" ("The Empire of Passion")
"Ai no Borei" is a surreal and supernatural love story. The remorse and the guilty complex of Seki make her see the ghost of her murdered husband, spoiling the perfect plot of her lover. The cinematography is jeopardized by the quality of the VHS released in Brazil, but there are very beautiful scenes, inclusive "Ringu" and the American remake "The Ring" use the view of the well from inside in the same angle. The performances and direction are excellent making "Ai no Borei" a great movie. My vote is eight.
Title (Brazil): "O Império da Paixão" ("The Empire of Passion")
Definitely passion in this empire
DanTheMan2150AD10 February 2024
A nightmarish tale of guilt and retribution, mixing eroticism and horror, Nagisa Oshima's Empire of Passion marks the director's only true kaidan venture, one of immense passion and offbeat humour. It's a bizarre mix of genres but one Oshima handles well, making fantastic use of Yoshio Miyajima's photography and the compelling performances, taking a very simplistic story and structure and delivering it well. The film does tend to meander quite a lot, with long sections not benefitting the tone or atmosphere the rest of the film builds upon, but regardless, this is a rather savage and unrelenting experience even if the ghostly aspects of its story are relatively cheesy, detailing the emotional and physical downfall a murder has on the individual.
An exquisite tale of betrayal & revenge
Falconeer21 June 2012
People usually think of "In the Realm of the Senses" when they hear Oshima's named mentioned. That film's graphic, semi-pornographic erotic scenes overshadowed director Nagisa Oshima's talents as a film maker. I believe his "Empire of Passion" is a superior film to that 1976 production, in many ways. Here we have a beautiful, and impeccably filmed 'ghost story' that truly succeeds in being "haunting." When the rick-shaw driver returns from the dead, after his wife and her corrupt young lover have murdered him, it is truly chilling. And this film succeeds at being very erotically charged, without explicit sex included. as in Oshima's earlier film, the illicit lovers seem to be obsessively, frantically addicted to each other sexually. Their couplings are feverish, even when things start to turn very dark in their lives. As in earlier works, the two main characters seem to have no control over their sexual appetites, and danger and violence only escalate their desire. "Empire of Passion" is masterfully filmed; the scenes in the mysterious forest with sunlight filtering through the branches overhead, or amidst pounding rain storms and mist-shrouded country roads, every frame of "Empire of Passion" is beautiful and carefully filmed. The scenes of the well are especially haunting and mysterious as the story draws to it's unhappy conclusion. A feeling of bitter hopelessness permeates every frame, and there isn't really anyone to sympathise with. Everyone seems so selfish and corrupt, except for the woman's young daughter, who is caught up in her mother's treachery. It's unfortunate that this film didn't get much attention, as people were most likely expecting another shock film like "In the realm of the senses." This one must have looked quite tame compared to that film, but i do believe this to be the superior of the two. I am looking forward to seeing earlier films from Nagisa Oshima.
Ghost story about betrayal
MarcoParzivalRocha6 February 2021
Seki and her lover Toyoji decide to devise a plan to get rid of Gisaburo, Seki's husband, in order to be together.
A good old Japanese horror classic from the late 70s, about betrayal and revenge.
Asian cinema is full of gems of this kind, a calculated, psychological terror and with the right dose of drama.
Here, the supernatural figure is an allegory to the feeling of guilt and remorse, which consumes and destroys the human kind.
The story isn't rich in content and doesn't have a complex plot, nothing really happens besides focusing on the two main characters and the criminal act they committed, but that is enough to make it interesting.
The cinematography is good, as well as the sets, which makes a tense and enveloping atmosphere and mood.
A good old Japanese horror classic from the late 70s, about betrayal and revenge.
Asian cinema is full of gems of this kind, a calculated, psychological terror and with the right dose of drama.
Here, the supernatural figure is an allegory to the feeling of guilt and remorse, which consumes and destroys the human kind.
The story isn't rich in content and doesn't have a complex plot, nothing really happens besides focusing on the two main characters and the criminal act they committed, but that is enough to make it interesting.
The cinematography is good, as well as the sets, which makes a tense and enveloping atmosphere and mood.
I was fascinated by this one...
AlsExGal16 June 2012
Warning: Spoilers
... and I know nothing about Japan or Japanese cinema. I just accidentally tuned in to this one close to its beginning at 4AM, expecting to be bored. Instead it discreetly pulled me in by its not so discreet plot and acting.
The synopsis says that it is about a younger man having an affair with an older woman. However, the woman (Seki) does not look to be that much older than the young man, Toyoji. Seki's husband is a rather dull rickshaw driver, and Toyoji's giving Seki the romantic attention that her husband Gisaburo does not. However Gisaburo loves Seki, just in his own understated way. Where things get a little strange is in Toyoji's point of view. First he insists on "shaving" Seki, then he insists that because he has done this Gisaburo will know about the affair and they must therefore murder Gisaburo. Seki, just as passive as her husband, agrees and together they strangle Gisaburo and throw him down an old well. Here's where things get even stranger, from a human nature standpoint - everyone in the community just accepts the fact that Gisaburo left town and does not come back - for three years. The only thing that arouses their suspicion is, after a three year absence, his ghost starts appearing to the townspeople asking for this and that - saying that he wants his pipe, new clothes etc. since he hasn't had any for so long. Odd that dreams arouse their suspicion when the hard evidence of a man you could set your watch by disappearing in thin air does not.
Then Seki starts seeing Ginsburo's ghost. Ginsburo's ghost is corporal though - he can and does pull his rickshaw around, drink, and smoke just as he did in life. The one person the ghost does not appear to is Toyoji, so as Seki slowly starts to emotionally unravel, Toyoji just thinks its guilt and panic eating at her and is not very sympathetic towards her.
Finally there is the brutality of the police that is quite a shock. The detective investigating Ginsburo's disappearance keeps telling the townspeople that he can't arrest anyone without proof, but when he does the accepted protocol of interrogation is to hang the suspect by a tree in public and cane them until they confess. Why bother with an investigation if torture is the next step after an arrest? You could get a confession out of anybody this way.
The whole thing has a very surreal quality, a story with universal themes but some odd behavior I just chalk up either to directorial style or cultural differences or maybe both, and some beautiful shots of the Japanese countryside, which is sometimes easily overlooked in the face of this very strange but engaging tale.
The synopsis says that it is about a younger man having an affair with an older woman. However, the woman (Seki) does not look to be that much older than the young man, Toyoji. Seki's husband is a rather dull rickshaw driver, and Toyoji's giving Seki the romantic attention that her husband Gisaburo does not. However Gisaburo loves Seki, just in his own understated way. Where things get a little strange is in Toyoji's point of view. First he insists on "shaving" Seki, then he insists that because he has done this Gisaburo will know about the affair and they must therefore murder Gisaburo. Seki, just as passive as her husband, agrees and together they strangle Gisaburo and throw him down an old well. Here's where things get even stranger, from a human nature standpoint - everyone in the community just accepts the fact that Gisaburo left town and does not come back - for three years. The only thing that arouses their suspicion is, after a three year absence, his ghost starts appearing to the townspeople asking for this and that - saying that he wants his pipe, new clothes etc. since he hasn't had any for so long. Odd that dreams arouse their suspicion when the hard evidence of a man you could set your watch by disappearing in thin air does not.
Then Seki starts seeing Ginsburo's ghost. Ginsburo's ghost is corporal though - he can and does pull his rickshaw around, drink, and smoke just as he did in life. The one person the ghost does not appear to is Toyoji, so as Seki slowly starts to emotionally unravel, Toyoji just thinks its guilt and panic eating at her and is not very sympathetic towards her.
Finally there is the brutality of the police that is quite a shock. The detective investigating Ginsburo's disappearance keeps telling the townspeople that he can't arrest anyone without proof, but when he does the accepted protocol of interrogation is to hang the suspect by a tree in public and cane them until they confess. Why bother with an investigation if torture is the next step after an arrest? You could get a confession out of anybody this way.
The whole thing has a very surreal quality, a story with universal themes but some odd behavior I just chalk up either to directorial style or cultural differences or maybe both, and some beautiful shots of the Japanese countryside, which is sometimes easily overlooked in the face of this very strange but engaging tale.
nope
treywillwest14 May 2018
Warning: Spoilers
As lushly beautiful looking as any film I've seen by Oshima, and that's saying something. Otherwise, this seems like his most conventional movie, at least on the surface. This is one of the director's few films that could be described as a genre work- in this case the tradition of the Japanese ghost story. Yet I also read it as a take on American Film Noir, what with sexual obsession driving a single man and a married woman to murdering the latter's husband. But it reverses that genre's gender tropes, making the young man the figure of sexual power who leaves the otherwise decent woman astray. Oshima is, I think, playing with the audience's patriarchal expectations, making them squirm a bit at the notion of a woman being so overcome by lust as to abandon her principles. "Isn't it man who is supposed to be virtuous yet corrupted by beauty???!!!" At one point, it is implied that the film is only a depiction of hearsay, even within it's own narrational space. This makes the work more true to Oshima's style- implying a vision of Japanese society as one characterized by hypocritical sexual repression, rumor, and superstition.
One of the famous movie by director Nagisa Ooshima
ebiros229 October 2012
Warning: Spoilers
I'm not sure if I qualify for commenting on this movie. I'm on and off impressed with director Nagisa Ooshima's movies. I'm not from the generation when he was at the zenith of his career, and I can't comment on how much of a shock value his movies had in the '60s and '70s.
The movie is beautiful. One thing I can say about director Ooshima is the perfection of beauty of his visuals.
The story seems rather prosaic now after 35 years since it was made. It's a simple story about a murder based on an affair. How unusual is that ? I was counting on Ooshima's sharpness at making a point from his unique perspective as a director, and a story teller. I couldn't find that here, and is my point of disappointment.
The movie is rather ordinary Japanese movie from the '70s. It's got stunningly beautiful visuals compared to movies other directors made around the same period (see for instance "Inugami no Tatari" that takes place in a similar setting and you'll see how great Nagisa Ooshima's visual presentation is), but the story and the acting is rather average. I also couldn't feel the outstanding "speed" that I usually feel when watching his better movies.
So I'm only commenting from the 21st century perspective on this movie, and may not at all be fair to the movie or the director. But it's a good movie that's mildly interesting to watch, with absolutely first class cinematography. You would have to see this yourself, and be the judge of its value.
The movie is beautiful. One thing I can say about director Ooshima is the perfection of beauty of his visuals.
The story seems rather prosaic now after 35 years since it was made. It's a simple story about a murder based on an affair. How unusual is that ? I was counting on Ooshima's sharpness at making a point from his unique perspective as a director, and a story teller. I couldn't find that here, and is my point of disappointment.
The movie is rather ordinary Japanese movie from the '70s. It's got stunningly beautiful visuals compared to movies other directors made around the same period (see for instance "Inugami no Tatari" that takes place in a similar setting and you'll see how great Nagisa Ooshima's visual presentation is), but the story and the acting is rather average. I also couldn't feel the outstanding "speed" that I usually feel when watching his better movies.
So I'm only commenting from the 21st century perspective on this movie, and may not at all be fair to the movie or the director. But it's a good movie that's mildly interesting to watch, with absolutely first class cinematography. You would have to see this yourself, and be the judge of its value.
A haunting, poetic tale inspired by true incidents...
Andrew!15 July 2003
***SPOILERS*** ***SPOILERS*** First, let me state that I am a huge film buff, but unfortunately somewhat new to Japanese films. I also want to clarify something that seemed unclear in previous reviews I've read here. The English title "In the Realm of Passion" appears to be truly an exploitive maneuver (probably by the director or studio executive) to lure the viewer into thinking that this is somehow related to "In The Realm of the Senses". It has nothing in common except that it's set in feudal japan, the plot involves a scandalous affair, starring the same leading male actor, and it's directed by the same director. the story and characters are not directly related in any way. I expected tons of steamy sex scenes, possibly involving the "in the..senses" characters.This is not that kind of movie.That having been said, I still liked it, and found it to be very haunting and disturbing at times.
BIG-TIME SPOILERS AHEAD In a nutshell, the story involves a boring, ignorant, (but diligent) husband who who goes about his daily business of providing for his family, which includes 2 children and a wife-who happens to be having an affair with a much younger man. Together their foolish passions ignite a ridiculous plot to kill her husband, after she gets him drunk on saki. They dump his body in a well and try to live their life as though nothing had happen. It isn't long before the village starts to doubt the wife's story about her husband being "out of town". Shortly after his death, the slain husband appears as a desolate, confused ghost, which tortures the now going insane wife. Soon an inspector arrives and probes deeper into the lover's tangled web...SPOILER END Even though the story is somewhat of a cliché, I feel it hasn't really dated. I found the tale truly creepy, and to me gave me a unique window into life in feudal Japan. I felt the undertone of a silent thriller, that would lead up to jagged little moments of shock, and suspense. I was slightly annoyed by the lead actress's "whiny" nature but thought, overall, everyone pulled it off. An interesting movie, that quietly grabs you, and slowly pulls you in. This may sound bizarre, but I kept feeling the same creepiness of "the Ring" ("Ringu") The well scene, themes of the undead, the ominous forest were all themes in comon with that thriller. Check it out.
BIG-TIME SPOILERS AHEAD In a nutshell, the story involves a boring, ignorant, (but diligent) husband who who goes about his daily business of providing for his family, which includes 2 children and a wife-who happens to be having an affair with a much younger man. Together their foolish passions ignite a ridiculous plot to kill her husband, after she gets him drunk on saki. They dump his body in a well and try to live their life as though nothing had happen. It isn't long before the village starts to doubt the wife's story about her husband being "out of town". Shortly after his death, the slain husband appears as a desolate, confused ghost, which tortures the now going insane wife. Soon an inspector arrives and probes deeper into the lover's tangled web...SPOILER END Even though the story is somewhat of a cliché, I feel it hasn't really dated. I found the tale truly creepy, and to me gave me a unique window into life in feudal Japan. I felt the undertone of a silent thriller, that would lead up to jagged little moments of shock, and suspense. I was slightly annoyed by the lead actress's "whiny" nature but thought, overall, everyone pulled it off. An interesting movie, that quietly grabs you, and slowly pulls you in. This may sound bizarre, but I kept feeling the same creepiness of "the Ring" ("Ringu") The well scene, themes of the undead, the ominous forest were all themes in comon with that thriller. Check it out.
Landmark.. But for the ending..
rtoac127 August 2023
This is a Japanese film starring Tatsuya Fuji-san who had made a name for himself in the erotic biography "In the Realm of the Senses (1976)".
The current film is of a similar genre why he must have been cast. Apart from his tremendous acting abilities of course!
The film theme is the typical adultery and conspired murder of the spouse. A theme explored by great playwrights and filmmakers alike. Oshima-San may be one of the earliest in the previous century.
The next key factor in the theme is the appearance of the husband's ghost. This too happens in a lot of the horror films. What's different here - and keeps us glued - through most of the film was that the ghost is not vengeful. You may dismiss it as hallucination except that it comes in the dreams of most of the villagers.
You keep wondering what's going to happen next only to find that the ghost indeed makes the wife go blind. And that the two lovers are in the end tortured until they confess. A very disappointing anti-climax for sure. And just after the depth of their love is proved in multiple scenes...
An otherwise landmark film let down by its ending..
The current film is of a similar genre why he must have been cast. Apart from his tremendous acting abilities of course!
The film theme is the typical adultery and conspired murder of the spouse. A theme explored by great playwrights and filmmakers alike. Oshima-San may be one of the earliest in the previous century.
The next key factor in the theme is the appearance of the husband's ghost. This too happens in a lot of the horror films. What's different here - and keeps us glued - through most of the film was that the ghost is not vengeful. You may dismiss it as hallucination except that it comes in the dreams of most of the villagers.
You keep wondering what's going to happen next only to find that the ghost indeed makes the wife go blind. And that the two lovers are in the end tortured until they confess. A very disappointing anti-climax for sure. And just after the depth of their love is proved in multiple scenes...
An otherwise landmark film let down by its ending..
One of Oshima's bests
pangipingu15 November 2020
Japanese movies of the twentieth century have an aura about them which makes the viewer engrossed in the stories, no matter how boring they might get at times. One must watch them till the ending credits.
This film is not an exception.
beautiful and haunting, a film noir crossbred with a classic ghost story
Quinoa198418 June 2009
Warning: Spoilers
Empire of Passion starts out deceptively - that is, if you're immediately expecting it to be a horror movie. It's like a riff on James M. Cain's The Postman Always Rings Twice, at first: Seki (Kazuko Yoshiyuki) is a mother of two and a dutiful, hard-working wife to rickshaw driver Gisaburo (Takahiro Tamura). But when he's not around, and she's at home with the baby, the feisty and aimless young man Toyoji (Tatsuya Fuji) comes around to bring some goodies for Seki... and a little extra. They're soon sleeping together, but after he does something to her (let's just say a "shave"), he knows that he'll find out, and immediately proposes that they kill Gisaburo. They drink him up, strangle him, and then toss him down a well. Naturally, this will come back to haunt them - but that it's literally, at least to them (at first super-terrified Seki and then only later on skeptical Toyoji), changes gears into the 'Kaidan', a Japanese ghost story.
This is a film where the horror comes not simply out of "oh, ghost, ah", but out of the total dread that builds for the characters. In a way there's the mechanics of a film-noir at work throughout, if only loosely translated by way of a 19th century Japanese village as opposed to an American city or small town (i.e. the snooping cop, the "evidence" found possibly by another, word getting around, suspicions aroused, etc). It's compelling because Seiko actually was against the plan from the start, manipulated by the lustful but ill-prepared Toyoji, and her reactions to Gisaburo's re-appearances are staggering to her. Take the one that comes closest to poetry: Gisaburo's ghost, pale-blue face and mostly silent, chilling stare, motions for Seiko to get on the rickshaw. She does, reluctantly, and he pushes her around on a road she doesn't know, in the wee hours before dawn, surrounded by smoke. Most Japanese ghost stories wish to heavens they could get this harrowingly atmospheric.
While it starts to veer into hysterics towards the end, there's so much here that director Oshima gets right in making this a distinctive work. After hitting it huge in the international cinema world with In the Realm of the Senses (which, ironically, got banned in his own country), he made something that, he claimed, was even *more* daring that 'Senses'. Maybe he was right; Empire of Passion has less graphic sexual content by far than its predecessor (also starring Tatsuya Fuji, a magnificently physical actor with an immense lot of range), but its daring lies in crafting a world of dread. You can believe in ghosts in this story, but you also have to believe how far down to their own personal hells these two would-be lovebirds will go. The snooping detective or the gossiping townspeople are the least of their worries: the fate of their very souls is at stake.
And Oshima takes what in other hands could be merely juicy pulp (sadly, it wouldn't surprise me if an American remake was already in the works) and crafts shot after gorgeous shot, with repetition working its way into the mis-en-scene (i.e. the shots of Seiko and Toyoji walking on that road, the camera at a dutch angle, the world tilted and surrounding them in a grim blue hue) as well as some affecting movements that will stay with me long after I finish typing this (i.e. Toyoji throwing the leaves by one hand into the well in slow motion, or how Seiko's nude body is revealed after she becomes blind). It's daring lies in connecting on a level of the spirit- not to be confused with the spiritual, though there may be something with that as well- about life and death's connections to one another, inextricably. It's a classic waiting to be discovered.
This is a film where the horror comes not simply out of "oh, ghost, ah", but out of the total dread that builds for the characters. In a way there's the mechanics of a film-noir at work throughout, if only loosely translated by way of a 19th century Japanese village as opposed to an American city or small town (i.e. the snooping cop, the "evidence" found possibly by another, word getting around, suspicions aroused, etc). It's compelling because Seiko actually was against the plan from the start, manipulated by the lustful but ill-prepared Toyoji, and her reactions to Gisaburo's re-appearances are staggering to her. Take the one that comes closest to poetry: Gisaburo's ghost, pale-blue face and mostly silent, chilling stare, motions for Seiko to get on the rickshaw. She does, reluctantly, and he pushes her around on a road she doesn't know, in the wee hours before dawn, surrounded by smoke. Most Japanese ghost stories wish to heavens they could get this harrowingly atmospheric.
While it starts to veer into hysterics towards the end, there's so much here that director Oshima gets right in making this a distinctive work. After hitting it huge in the international cinema world with In the Realm of the Senses (which, ironically, got banned in his own country), he made something that, he claimed, was even *more* daring that 'Senses'. Maybe he was right; Empire of Passion has less graphic sexual content by far than its predecessor (also starring Tatsuya Fuji, a magnificently physical actor with an immense lot of range), but its daring lies in crafting a world of dread. You can believe in ghosts in this story, but you also have to believe how far down to their own personal hells these two would-be lovebirds will go. The snooping detective or the gossiping townspeople are the least of their worries: the fate of their very souls is at stake.
And Oshima takes what in other hands could be merely juicy pulp (sadly, it wouldn't surprise me if an American remake was already in the works) and crafts shot after gorgeous shot, with repetition working its way into the mis-en-scene (i.e. the shots of Seiko and Toyoji walking on that road, the camera at a dutch angle, the world tilted and surrounding them in a grim blue hue) as well as some affecting movements that will stay with me long after I finish typing this (i.e. Toyoji throwing the leaves by one hand into the well in slow motion, or how Seiko's nude body is revealed after she becomes blind). It's daring lies in connecting on a level of the spirit- not to be confused with the spiritual, though there may be something with that as well- about life and death's connections to one another, inextricably. It's a classic waiting to be discovered.
An Easy Watch
damlacaglar5 November 2020
I usually shy away from watching anything that has been shot before the 90's but I'm glad I gave this one a shot as it turns out it was a pretty easy watch. The premise is fairly simple and the themes portrayed still uphold to present day, the movie has good tension (although the horror aspect of it may be kind of lost in time) and it is overall well shot.
The only issue i have with this movie is it's ending. It's too abrupt and you completely drop out of the movie left without a chance to let it sink in.
Haunting Ghost Story
mike_pee12310 March 2000
In the Realm of the Senses is a beautifully filmed, well-written, and splendidly acted film. It tells the haunting story of a woman who kills her husband after falling in love with another man. The ghost of her husband continues to haunt her lond after his murder. This film is really good, anyone interested should definitely check it out.
grief, guilt, and sexuality
lee_eisenberg7 January 2018
Warning: Spoilers
First I should note that "Ai no bôrei" ("Empire of Passion" in English) is the first Nagisa Oshima movie that I've ever seen. It struck me as part horror, part drama, as the woman has an affair and then decides to kill her husband, except that he haunts her. What I wondered was whether this was an issue of guilt or grief. Whichever it was, the result is one intense movie. In the interviews with the cast members, they described the movie as a sort of extension of Oshima's previous movie "In the Realm of the Senses". Having never seen it, I can't confirm that. What I can say is that "Empire of Passion" makes outstanding use of the setting - a small village in 1890s Japan - and the characters' sexuality (there's nothing gratuitous about the nudity).
All in all, I would now like very much to see "In the Realm of the Senses" and other movies by Oshima. In the meantime, I recommend this one.
All in all, I would now like very much to see "In the Realm of the Senses" and other movies by Oshima. In the meantime, I recommend this one.
Pretty unsavory....
planktonrules8 December 2011
Warning: Spoilers
The very premise of this film was icky and turned me off completely. This isn't 100% surprising, as the director (Nagisa Ôshima) had a reputation for pushing the boundaries of taste and propriety. And, I really doubt he could have gotten away with making a film like this in the States. That's because the film shows a lecherous man raping a married older woman--and she LIKES it and becomes hopelessly devoted to him. And a bit later, when he suggests they murder her husband, she goes along with it and helps her lover strangle the poor guy! All this is very explicit (for a Japanese film this means lots of nudity but NEVER any crotch shots) and nasty.
Although you might think the two would live happily ever after, this is not the case. The dead man was shoved into an old well--but his ghost haunts his wife throughout the film and even visits their daughter. And, she eventually loses her mind and only wishes to dies--even three years later. And, while the lover isn't quite as guilt-stricken, he's also a mess and the pair never have much chance to enjoy their new sordid lives--which I guess is trying to say that crime and evil doesn't pay.
If you ignore the ickiness of the plot and how irresponsible it is, is it any good? Well, it's fair--neither great nor good. And, the viewer might wish to know that the rape myth is relatively common in Japanese films and anime--it's sure a different culture. I didn't particularly enjoy the experience.
Although you might think the two would live happily ever after, this is not the case. The dead man was shoved into an old well--but his ghost haunts his wife throughout the film and even visits their daughter. And, she eventually loses her mind and only wishes to dies--even three years later. And, while the lover isn't quite as guilt-stricken, he's also a mess and the pair never have much chance to enjoy their new sordid lives--which I guess is trying to say that crime and evil doesn't pay.
If you ignore the ickiness of the plot and how irresponsible it is, is it any good? Well, it's fair--neither great nor good. And, the viewer might wish to know that the rape myth is relatively common in Japanese films and anime--it's sure a different culture. I didn't particularly enjoy the experience.
Empire of Passion
mevmijaumau3 January 2016
Nagisa Oshima's second co-production with France, Empire of Passion (based on the manuscript of Itoko Nakamura's then-unpublished novel), is often falsely considered to be a sequel to his previous film, In the Realm of the Senses. However, despite featuring the same lead actor (Tatsuya Fuji), the two films are only loosely connected by some of the similar themes they share, making them a diptych of sorts.
Empire of Passion is set in the Meiji era and, like the previous film, focuses on the nature of passionate love, or the consummation of sexuality and how it can offer an escape from the repressive outside world. However, the two protagonists in this film are doomed from the start because of this, as the fleeting sensations lead them to irreparable life choices which then take a heavy toll on their psyche. The film is much less sexually explicit than Realm, but is more disturbing and overall it's a much darker tale, with some kaidan (ghost story) elements. The appearance of a traditional Japanese depiction of a ghost fits into the whole "folktale" mood of the film, complete with a narrator voice of a creepy old lady.
Unlike Realm, Empire is set in the natural world. Thus, the film is defined by seasonal shifts (it actually goes in reverse, Winter-Autumn- Summer-Spring) and the two main characters are left in mercy of the chaotic, indifferent world of nature. Some of the most beautiful shots from the movie are in fact landscapes, or seen from under a well. Toru Takemitsu's soundtrack is quite good as usual.
Unfortunately, the film seemed to meander a bit, and some of the ghost scenes are pretty cheesy. The theatrical acting was a bit too much in several parts (lead actress Kazuko Yoshiyuki is beyond cute here, though) and overall, the film didn't quite click with me.
Empire of Passion is set in the Meiji era and, like the previous film, focuses on the nature of passionate love, or the consummation of sexuality and how it can offer an escape from the repressive outside world. However, the two protagonists in this film are doomed from the start because of this, as the fleeting sensations lead them to irreparable life choices which then take a heavy toll on their psyche. The film is much less sexually explicit than Realm, but is more disturbing and overall it's a much darker tale, with some kaidan (ghost story) elements. The appearance of a traditional Japanese depiction of a ghost fits into the whole "folktale" mood of the film, complete with a narrator voice of a creepy old lady.
Unlike Realm, Empire is set in the natural world. Thus, the film is defined by seasonal shifts (it actually goes in reverse, Winter-Autumn- Summer-Spring) and the two main characters are left in mercy of the chaotic, indifferent world of nature. Some of the most beautiful shots from the movie are in fact landscapes, or seen from under a well. Toru Takemitsu's soundtrack is quite good as usual.
Unfortunately, the film seemed to meander a bit, and some of the ghost scenes are pretty cheesy. The theatrical acting was a bit too much in several parts (lead actress Kazuko Yoshiyuki is beyond cute here, though) and overall, the film didn't quite click with me.
A wonder to look at... Both a visual and thematic feast!
jgbgraham25 September 2023
Warning: Spoilers
I have seen a few Oshima films and they have all been fantastic. Empire of Passion is no exception. It is a subtle horror story of a lovers affair turned cold blooded murder. Naturally the victim comes back as the undead for some spooky justice. You almost have to wonder if it is just the guilty conscience of the murderous wife that manifests the ghost at first... and then everyone around town starts seeing him and the cops straight up take it as serious evidence of a murder and proceed to investigate. This is why I love movies from the far east. Something like that sounds ridiculous but is totally plausible within the realm of this movie. Besides all the genre fun within this movie it was filmed impeccably. Almost every shot is pure beauty you would hang on your wall, especially the scenes where they're looking down the well that holds their senseless crime. If you liked this movie and are wanting to watch more of his films I recommend In The Realm of the Senses, Japanese Summer: Double Suicide
and Merry Christmas, Mr. Lawrence.
Another fine period look at relationships by Ôshima!
talisencrw14 January 2016
Warning: Spoilers
I am a great fan of Ôshima's work, though unfortunately I have only seen previously six films of his, all between 1965's 'Pleasures of the Flesh' and 1976's extremely controversial 'In the Realm of the Senses'. This, like the latter, was a period piece that looked at a doomed relationship (this time in 1895), though far less scandalous in its sexuality, though still titillating nevertheless. Exiled and forced to work with the French in order to continue his passion, Ôshima's storytelling, through Yoshio Miyajima's gorgeous camera-work and another exemplary soundtrack by Japanese scoring genius, Tôru Takemitsu, and remarkably passion-ate performances by its stars, Tatsuya Fuji (who separated his shoulder, his acting was so intense) and Kazuko Yoshiyuki (who, I must admit, has the most amazing nipples I have ever seen), was great, earning him Best Director at Cannes. It seemed a reverse noir, with Fuji's Toyoji playing the seducer, and Yoshiuki's once-faithful wife being persuaded to be co-conspirator to her loving (but not fulfilling her desires) rickshaw-driver husband, not to mention a fine ghost story, with Gisaburo's very patient ghost taking three years to finally bring himself justice, by forcing the community to press the horribly-incompetent (almost as inept as Doug McGrath's Sergeant Nash in the original 'Black Christmas'!) Inspector Hotta to eventually torture confessions out of the ill-fated duo. Another film to see with the person you love!...
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