1962 ‘秋津温泉’ Directed by Yoshishige Yoshida
Yoshida’s first big-budget production and colour film is a haunting tale of unrequited love and postwar disillusion. The story of the fatal attraction between a spineless intellectual and a strong woman is conventional, but its enactment is radically new.
Mariko Okada Hiroyuki Nagato Sō Yamamura Jūkichi Uno Eijirō Tōno Fukuko Sayo Sumiko Hidaka Teruo Yoshida Mari Yoshimura Mutsuko Sakura Toyo Takahashi Nijiko Kiyokawa Taiji Tonoyama Masako Nakamura Shigeru Kōyama Asao Koike Akira Nagoya Tsutomu Shimomoto Kō Nishimura Kōjirō Kusanagi Kei Taguchi Mutsuhiko Tsurumaru Takanobu Hozumi Imari Tsuji Kakuko Chino Kyoko Aoi Mitsuko Yoshikawa Kaoru Natsukawa Momoko Okano Show All…
La source thermale d'Akitsu, Akitsu onsen, The Affair at Akitsu, Горячий источник Акицу, La sorgente termale di Akitsu, Курортът Акицу, Lázně Akicu, Primavera en Akitsu, Источники Акицу, 아키츠 온천
Czechia
Eiga-Sai Film Festival
Russian Federation
Russian Federation
Japan
Czechia
Japan
Russian Federation
Young Yoshida does melodrama. The actions have a destructive quality hightened by promise of violence and calcified society, the usual genre motifs more heavily politicized, while the color scope is played up for full forced sweep with little distancing, but not any trace of the genre more populist tendencies. One of Okada better roles as well. This is probably Yoshida most accessible major film. It is gorgeous and punishing in equal ways.
Akitsu Springs is an early effort from Kiju Yoshida, originally a Shochiku-based filmmaker who went on to make a number of challenging and experimental new wave films. It stars his wife, Mariko Okada, who appears in her 100th film. The film is rather different from his later "anti-melodramas" in both visual and narrative terms. That may be the reason why it's quite underrated. This is a masterpiece, no doubt about it.
It's a full-bodied melodrama that recalls many European and American films of the 50's, but still contains enough Japanese flavor. This tragic love story is set at the Akitsu health spa where, after World War II, a young soldier who is suffering from tuberculosis comes to die. Thanks to…
Technicolor 'scope, heightened Sirkian emotions...Maybe the most 'Hollywood' of classic-era Japanese movies. If there are any Sirkian ironies on display, they're in the character of the male lead, whose entire worthless asshole life is one big pair of ironic quotation marks.
Akitsu onsen estreava há 60 anos no Japão.
Yoshida, Yoshida, meu amor. Você pode imaginar que o Yoshida ainda na Shochiku seria mais domesticado, mas ele já é um tremendo diretor, mesmo que se trate de um melodrama em moldes mais clássicos, seu know-how inato reluz em cada composição.
A trilha sonora é belíssima, mas não sei até que ponto não atrapalha em deixar o clima mais melodramático possível.
Gosto da narrativa em que a mulher transfere seu Eros ao homem e ele por sua vez transfere seu Tanatos à ela, não é esse o cerne da relação desigual num mundo patriarcal?
No YouTube ( youtu.be/q2Kph8mHjeI )
beautiful technicolor melodrama done japanese -style, AKA with lots of suicidal themes. some truly haunting music, and Okada's performance will stay with me for a long time. very depressing, made me feel horrible 👍
I expect stark black and white minimalism from the husband and wife director/star collaboration of Yoshishige Yoshida and Mariko Okada - after all, that's what I got with A Story Written With Water, Woman Of The Lake, Eros + Massacre and the sublime Affair In The Snow! - so to discover their first film together to be a (more or less) traditional widescreen melodrama, and in colour as well, was something of a surprise.
And, trust me, this is an 'everything AND the kit(s)chen sink' melodrama, complete with gorgeous visuals, lovely location photography, an omnipresent lush score - overly lush, if truth be told - and a very OTT plot about a TB-suffering soldier at the end of World War…
A beautifully filmed melodrama with excellent acting by the two leads. The movie though is straightforward from start to finish but with a nihilistic attitude that shifts from one lead to another as time goes on. The cinematography, the colours & the framing are remarkable and carries the movie throughout despite some over-acting. The music gets irritating after a point of time. This movie reminded me of Naruse's "Floating Clouds" & Ophüls' "The Letter from an unknown woman".
A beyond beautiful widescreen melodrama about a life suspended in the eternal immediacy of a longing made unfulfillable by patriarchy. For her, the few short days they spend together every once in a while, often years apart, are precious, every reunion an epic of intimacy. Everything else is just time slipping away without leaving behind a fully-formed biography.
For him, their time together is precious, too, but precisely because it allows him to escape from biographical time. Two ways of being miserable, but only hers is rendered in cinematographic terms. In fact, the short interludes about the man weaken the film considerable, because they distract from the repetitive, almost abstract textures of her love, the hypnotic score, the restrictive vastness…
The early studio backed bigger budgeted works of filmmakers destined to eventually become capital A Artists are usually pretty fascinating and often very frustrating. In most cases the craft and genre commitment suggest maturity (think Kubrick's Spartacus), but the personal style and thematic obsessions are typically diluted. Director Yoshida who would eventually blossom into producing cool spartan head scratching avant garde works with the modish style and compositional rigor of perfume commercials, here, with his fourth film, works in the vein of old school humanist melodrama. There isn't even an ounce of the new wavish elements of his earlier youth malaise focused works like Good-for-Nothing or Bitter End of a Sweet Night. Working for the first time with his lifelong…
Full embracing the genre which Yoshida would later flip on its head, Akitsu Springs shows a couple caught circling the drain of doomed romance. It’s his least abrasive film, often comforting despite its subject matter, because each anticipation is fulfilled. There’s only one possible ending, whereas down the road each film seemed to have more than the last.
enduring life as much as you can because theres still the faintest chance you might see them again. this film barely shows the moments in between their encounters, but the weight of time is felt so heavily. a woman falls in love with a man whose life she saves but ends up sacrificing years of her own because of it.
