This is a desperate story of how love can drive people to extremes to hold on to the ones they love and keep them safe. It's also a condemnation of Japanese militarism and small town bigotry. The violence when it comes is quite shocking but wholly appropriate to the story. It's one of the most real love stories you'll ever see on film.
10 Reviews
blinded by love
dromasca3 December 2012
Warning: Spoilers
My discovery of the fascinating world of the Japanese cinema progresses slowly. The cinematheque in my city scheduled the projection of a few films belonging to another of the great Japanese directors of the post-war generation - Yasuzo Masumura. Unfortunately I could not see but one film, but I must have been lucky enough to pick one of the best, as Seisaku's Wife is a film that is both powerful and sensible, has a strong message and is respectful to the tradition at the same time.
Seisaku's Wife is a war drama, or better say an anti-war drama, with a strong social message blended in a memorable romantic story. The love story between the handsome soldier Seisaku who returns to his remote village from the army with innovative ideas and the beautiful Okane marked by her past of concubine to an old and rich man in the city is well scripted and told in an impressive manner. Like in the traditional Japanese paintings every scene, every word, every gesture has both a sense and is part of a composition of beauty that gives to the whole film an aesthetic and balanced look. Drama is however in the making, as war breaks and the love of the young couple will be put under pressure both from the social environment of the traditional village that will not forgive to the beautiful woman her past, as well as of the danger and the almost sure risk of dying faced by any soldier. Seisaku's Wife is one of the strongest anti-war movies made in Japan, and from this point of view can be seen in line with the post-war trauma treatment that the whole Japanese society underwent.
The film features a splendid performance by Ayako Wakao as Okane and is well acted in general. The fluent story telling, impressive soundtrack, and excellent camera work, all show that by the time when he made this film Masumara was a mature and accomplished director. I hope that I will have the opportunity to see other works of his, and I recommend this film not only to the fans of Japanese cinema.
Seisaku's Wife is a war drama, or better say an anti-war drama, with a strong social message blended in a memorable romantic story. The love story between the handsome soldier Seisaku who returns to his remote village from the army with innovative ideas and the beautiful Okane marked by her past of concubine to an old and rich man in the city is well scripted and told in an impressive manner. Like in the traditional Japanese paintings every scene, every word, every gesture has both a sense and is part of a composition of beauty that gives to the whole film an aesthetic and balanced look. Drama is however in the making, as war breaks and the love of the young couple will be put under pressure both from the social environment of the traditional village that will not forgive to the beautiful woman her past, as well as of the danger and the almost sure risk of dying faced by any soldier. Seisaku's Wife is one of the strongest anti-war movies made in Japan, and from this point of view can be seen in line with the post-war trauma treatment that the whole Japanese society underwent.
The film features a splendid performance by Ayako Wakao as Okane and is well acted in general. The fluent story telling, impressive soundtrack, and excellent camera work, all show that by the time when he made this film Masumara was a mature and accomplished director. I hope that I will have the opportunity to see other works of his, and I recommend this film not only to the fans of Japanese cinema.
Loneliness and Despair
Uriah4322 May 2021
This film essentially starts out just prior to the Russo-Japanese War with a beautiful young woman by the name of "Okane" (Ayako Wakao) having been sold to a wealthy old man by her parents in order to pay a debt. Although she doesn't actually love him she performs her duties in an admirable manner and because of that she is given a reasonable amount of money by his family when he passes away. So when her father also dies not long afterward she uses a portion of that money to relocate back to the small village she left several years earlier. However, the villagers all look down upon her because of her previous situation and as a result she becomes quite bitter and lonely. This situation changes, however, when the most popular person in the village named "Seisaku" (Takahiro Tamura) falls madly in love with her-and she returns that affection many times over. Unfortunately, having experienced the depths of loneliness previously neither are prepared for what happens when he is called upon to serve in the army and she is left alone with villagers who still despise her. Now rather than reveal any more I will just say that this was an interesting film which was greatly enhanced by a remarkable plot, good camera work and the incredible beauty of Ayako Wakao. Admittedly, there were a couple of scenes where the acting was a bit over-the-top but all things considered I enjoyed this movie and I have rated it accordingly.
Wild and passionate melodrama
meitschi13 August 2004
A wild and fascinating melodrama full of passion, love, war, and hate.
Japan at the beginning of the 20th century. Okane, a beautiful girl from a poor family, must serve as a mistress to a much older rich man. When he and her father die, the young woman returns with her mother to their native village. The locals despise them because of Okane's past, the young woman meets them with arrogance and haughty behavior. But then everything changes when her mother dies and the handsome Seisaku, a young man who is regarded as a model soldier and the son-in-law of their dreams by the villagers, helps her in this difficult situation. The two fall in love and marry against the spite of the whole village (their passionate sexual relationship is emphasized during the whole film), but then Seisaku has to go to war against the Russians and their world falls apart...
Violent and passionate, wonderfully photographed and played (especially by the beautiful Ayako Wakao), full of hot tears but nevertheless never sentimentalist or kitschy, this Japanese film is a real discovery.
Japan at the beginning of the 20th century. Okane, a beautiful girl from a poor family, must serve as a mistress to a much older rich man. When he and her father die, the young woman returns with her mother to their native village. The locals despise them because of Okane's past, the young woman meets them with arrogance and haughty behavior. But then everything changes when her mother dies and the handsome Seisaku, a young man who is regarded as a model soldier and the son-in-law of their dreams by the villagers, helps her in this difficult situation. The two fall in love and marry against the spite of the whole village (their passionate sexual relationship is emphasized during the whole film), but then Seisaku has to go to war against the Russians and their world falls apart...
Violent and passionate, wonderfully photographed and played (especially by the beautiful Ayako Wakao), full of hot tears but nevertheless never sentimentalist or kitschy, this Japanese film is a real discovery.
Seisaku no tsuma (1965)
SnakesOnAnAfricanPlain22 January 2012
An astonishing film in terms of it's relentless power to both shock and move. It has a quick and melodic pace, something rather uncommon for films of the time. It gets moving straight away and sets us in a world of misplaced honor and preconceptions. Wakao is simply stunning in both her looks and talent. She plays a beaten down woman with a lot of spite, but equal amounts of heart. After the death of her sugar daddy, she returns to her home village where she is seen as tainted goods. It isn't long before a role model soldier returns to the village and, against the wishes of the townsfolk, sets his sites on the outcast. The two both seem to be rebelling against society, but also do have genuine affection for each other. It isn't something that is easy to pull off. By the time the violent third comes around it is a disturbing act of love that perfectly sums up the complex themes running around. This film is unforgettable and I would even recommend it to those that find early Asian cinema a bit slow. Hopefully, this could open some doors.
Love is Warmer than War
taddayyon4 August 2020
An absolutely Masterpiece from a great underrated director, who worked as assistant of Mizoguchi and his films, like those of his master's, are contemplative, although not such slow. Seisaku's Wife tells a rich and impressive story about an inevitable love in contradiction to military honor. You can see desperate life instinct in the age of imperial deadly values. This dichotomy, of course, is not unfamiliar in Japanese classic cinema: Naruse's Floating Clouds and, even more, Suzuki's Story of a Prostitute (also made in 1965) showed the same contradiction. But I found Masumura's movie stronger: Majestic pictures, simple but splendid music, and excellent performances.
It is strongly recommended, especially if you love infinite golden heritage of Japanese studio cinema.
Love On Her Terms
boblipton7 October 2020
Ayako Wakao was sold to a rich kimono merchant, who lavished everything on her. Now he's dead. She has returned to her village, where everyone despises her because of her past, except for Takahiro Tamura. They fall into lust and common-law marriage because his mother doesn't approve. He's the role-model soldier for village, and the Russo-Japanese War is about to begin. When he gets sent off to the assault on Port Arthur, the village goes back to treating her like dirt, until word comes that Tamura was injured, is in hospital, and will be given a week's leave She doesn't want him to go.
It's a movie that combines two two Japanese elements that look absolutely bonkers to a foreigner. First, of course, is the way everyone salutes the Emperor and is thrilled that Tamura has a chance to die; one of the characters says that a real hero is one who dies. The other is the sort of obsessive love that makes someone mutilate the object of their desire.
Well, it baffles me, if not all foreigners. Some people are weird.
It's stunningly performed and directed by Yasuzô Masumura, a leading light of the Japanese New Wave. As someone who decried Old Japan and New Japan, I think this expresses his disapproval of both.
It's a movie that combines two two Japanese elements that look absolutely bonkers to a foreigner. First, of course, is the way everyone salutes the Emperor and is thrilled that Tamura has a chance to die; one of the characters says that a real hero is one who dies. The other is the sort of obsessive love that makes someone mutilate the object of their desire.
Well, it baffles me, if not all foreigners. Some people are weird.
It's stunningly performed and directed by Yasuzô Masumura, a leading light of the Japanese New Wave. As someone who decried Old Japan and New Japan, I think this expresses his disapproval of both.
Absolutely brilliant drama that makes you think
Musicianmagic20 April 2024
This is a remake of a silent film (unfortunately I have not yet seen) from 1924.
A period drama set in the early 1900's at the time of the Russo-Japanese war. Everything being factually correct as far as I know. A woman that was in an arranged marriage to an older man who died. She returns to the village she is originally from although still an outcast from the time she had left. She meets, falls in love and marries a respected and distinguished soldier.
Ayako Wakao plays the lead for which she won a couple of Japanese acting awards. This performance could have won an academy award. She is outstanding. I think one of the best actresses of all time from any country. The rest of the cast is excellent.
The direction by Yasuzô Masumura also excellent. The editing is seamless. Not sure what could have been improved. The script and story are totally engrossing from start to finish. Plus it gives you things to think about. That is why I rate this movie a 10 out of 10. It is one of my most recommended Japanese movies I make to friends. Definitely should be watched.
A period drama set in the early 1900's at the time of the Russo-Japanese war. Everything being factually correct as far as I know. A woman that was in an arranged marriage to an older man who died. She returns to the village she is originally from although still an outcast from the time she had left. She meets, falls in love and marries a respected and distinguished soldier.
Ayako Wakao plays the lead for which she won a couple of Japanese acting awards. This performance could have won an academy award. She is outstanding. I think one of the best actresses of all time from any country. The rest of the cast is excellent.
The direction by Yasuzô Masumura also excellent. The editing is seamless. Not sure what could have been improved. The script and story are totally engrossing from start to finish. Plus it gives you things to think about. That is why I rate this movie a 10 out of 10. It is one of my most recommended Japanese movies I make to friends. Definitely should be watched.
A slog, but it's probably supposed to be.
Jeremy_Urquhart18 March 2024
I watched Yasuzo Masumura's Red Angel a few nights ago, and was really impressed, so decided to watch another film of his that also starred Ayako Wakao in the lead role. Both it and Seisaku's Wife are perhaps comparable in the sense that they focus on love during wartime, and much like life, show it to be no party, no disco, nor any kind of fooling around. But Red Angel's grimness was unrelenting and genuinely shocking, and Seisaku's Wife feels a little more melodramatic in a way I couldn't quite click with. It's very repetitive, and even though I do agree with what I think the movie is criticizing, I just got so worn down by how much it seems to repeat itself.
It might be the point - the endless (and annoying) gossiping and two lead characters who keep feeling stuck by the terrible and backward small town they live in. I don't know if it fully came together, though, and the more shocking scenes feel jarring in a way that might've also been intentional, but still didn't hit me the way I think they were supposed to. It's a bit of a mess, but I think it's well-shot and mostly well-acted, and also given that some of the frustrations I felt are probably the point (doesn't mean I liked feeling that way, nor found it the "right" amount of frustrating), I can't exactly call it bad. I'll absolutely never watch it again, though.
It might be the point - the endless (and annoying) gossiping and two lead characters who keep feeling stuck by the terrible and backward small town they live in. I don't know if it fully came together, though, and the more shocking scenes feel jarring in a way that might've also been intentional, but still didn't hit me the way I think they were supposed to. It's a bit of a mess, but I think it's well-shot and mostly well-acted, and also given that some of the frustrations I felt are probably the point (doesn't mean I liked feeling that way, nor found it the "right" amount of frustrating), I can't exactly call it bad. I'll absolutely never watch it again, though.
Few people know melodrama better than Masumura
chaos-rampant2 August 2010
Warning: Spoilers
Masumura is probably the least subtle of the Japanese New Wavers. His characters wear their emotions on their sleeves, they're not only lost inside a maize of their own desires but they don't care to look for a way out, they are consumed by their passions to the bitter end. Masumura usually subverts audience expectations though, that's not all there is to his films, at some point something sinister is introduced and violence comes at play with something perverted and unexplained bubbling beneath the surface. His characters are governed by simple passions and a simple violence.
Seisaku's Wife is rural melodrama played out at a remove village at the turn of the century, good and bad is clearly defined at first and characters have little depth because they fall easily in one or the other category, and a series of events is foreshadowed early on. The doomed romance between the "adulteress" who comes back to the village of her mother with a small fortune she inherited as a mistress to an old man and the "hero soldier" who returns from the war a decorated officer and becomes a role-model of responsibility dutifulness and thrift for the village, the two of them fall in love and the village disapproves, you can almost see billows of a tragic ending in the distance, and you can sense it will come to pass with the incredible violence that lies at the heart of a small rural society intolerant to outsiders and those who are not willing to be swallowed whole by it.
For most of its duration the movie is a group of people with faces furrowed with suspicion huddled together to gossip, we observe that closely like we're called to share in the conspiring, then Seisaku is drafted again in the army and Okane, the mistress who is now his wife but still unwanted in the village, is thrown in a pit of despair, then Seisaku volunteers for a suicide mission and now we're in a crowd waving banners outside Seisaku's place waiting to celebrate his departure and from the inside come agonizing screams. Something horrible has come to pass, a simple violence coming from a simple passion.
Good and bad in the film wouldn't be out of favour with Calvin. The village is quickly shown to be a den of inequity, suspicion, jealousy, gossip, drinking, idleness all come at play, Seisaku seems to be the only one drafted to fight while the rest make drunken declarations and toast each other and make passes at his wife, Seisaku on the other hand the model citizen, responsible, thrift, disciplined, good natured, humble, but Masumura paints his portrait so that if we hang it on a wall and looked at it from a distance the details would mesh into something that looked a bit different, like a diabolical parody of itself. Masumura suggests that Seisaku is maybe too much of a 'role-model', a little neurotic in his pursuit of that role, and he confirms that again in the film's denouement, "thanks to you I am a normal man now" Seisaku says to Okane. Now he is flawed, not just through an act of violence done to him but through his capacity to forgive it, and more human for that.
This is all mostly restrained for a New Wave film and shot in static setups, but I love it when Seisaku fantasizes about Okane's life in prison and we get expressionist images of a grey purgatory of souls where the inmates wander automaton-like in eternal damnation carrying huge chains behind them. Or when Seisaku writhes on the floor, blood spattering black on his white clothes like an angel fallen from grace. Seisaku's Wife is like a traditional folk story, a cautionary tale against prejudice and intolerance, it doesn't end in bloodshed and vengeance like one might expect, but with quiet affirmation - in the end love heals all.
Seisaku's Wife is rural melodrama played out at a remove village at the turn of the century, good and bad is clearly defined at first and characters have little depth because they fall easily in one or the other category, and a series of events is foreshadowed early on. The doomed romance between the "adulteress" who comes back to the village of her mother with a small fortune she inherited as a mistress to an old man and the "hero soldier" who returns from the war a decorated officer and becomes a role-model of responsibility dutifulness and thrift for the village, the two of them fall in love and the village disapproves, you can almost see billows of a tragic ending in the distance, and you can sense it will come to pass with the incredible violence that lies at the heart of a small rural society intolerant to outsiders and those who are not willing to be swallowed whole by it.
For most of its duration the movie is a group of people with faces furrowed with suspicion huddled together to gossip, we observe that closely like we're called to share in the conspiring, then Seisaku is drafted again in the army and Okane, the mistress who is now his wife but still unwanted in the village, is thrown in a pit of despair, then Seisaku volunteers for a suicide mission and now we're in a crowd waving banners outside Seisaku's place waiting to celebrate his departure and from the inside come agonizing screams. Something horrible has come to pass, a simple violence coming from a simple passion.
Good and bad in the film wouldn't be out of favour with Calvin. The village is quickly shown to be a den of inequity, suspicion, jealousy, gossip, drinking, idleness all come at play, Seisaku seems to be the only one drafted to fight while the rest make drunken declarations and toast each other and make passes at his wife, Seisaku on the other hand the model citizen, responsible, thrift, disciplined, good natured, humble, but Masumura paints his portrait so that if we hang it on a wall and looked at it from a distance the details would mesh into something that looked a bit different, like a diabolical parody of itself. Masumura suggests that Seisaku is maybe too much of a 'role-model', a little neurotic in his pursuit of that role, and he confirms that again in the film's denouement, "thanks to you I am a normal man now" Seisaku says to Okane. Now he is flawed, not just through an act of violence done to him but through his capacity to forgive it, and more human for that.
This is all mostly restrained for a New Wave film and shot in static setups, but I love it when Seisaku fantasizes about Okane's life in prison and we get expressionist images of a grey purgatory of souls where the inmates wander automaton-like in eternal damnation carrying huge chains behind them. Or when Seisaku writhes on the floor, blood spattering black on his white clothes like an angel fallen from grace. Seisaku's Wife is like a traditional folk story, a cautionary tale against prejudice and intolerance, it doesn't end in bloodshed and vengeance like one might expect, but with quiet affirmation - in the end love heals all.
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