Sunday, 28 August 2016

Capital Celluloid 2016 - Day 262: Mon Sep 19

Belladonna of Sadness (Yamamoto, 1973): Barbican Cinema, 8.30pm


This masterpiece of Japanese animation screens as part of the 'Head Trips: Films for the Innder Eye' season at the Barbican. You can find the full details here.

New York Times review:
To summarize this film is to present a solid argument that it’s one of the most unusual ever made: “Belladonna of Sadness,” is a 1973 Japanese erotic animated musical inspired by the 19th-century French historian Jules Michelet’s account of witchery in the Middle Ages.
The reality of the movie, directed by Eiichi Yamamoto, is odder still. Opening with a jazz-rock song and lyrical, static imagery of attractive Western figures in watercolor, it features narration telling of Jean and Jeanne, young French provincial marrieds “smiled upon by God.” 

But not for long. Jeanne is subjected to a brutal, surrealistically rendered gang rape by the village lord and his claque. The film then lays out an imaginative, and sometimes overwrought, narrative exegesis, positing that the power of feminine sexuality is essentially demonic. While weaving thread one afternoon, post-trauma, Jeanne is visited by a small, phallus-shaped imp.

“Are you the Devil?” she asks.“I am you,” he replies. Thus begins Jeanne’s triumph and ruin. “Belladonna of Sadness” is compulsively watchable, even at its most disturbing: The imagery is frequently graphic, and still, after over 40 years, it has the power to shock. The narrative, however implausible, is seductive. And the meticulously executed visual freakouts are awe-inspiring: The Black Death, which, of course, spices up the story line, gets its own four-minute production number. The variety of graphic modes — with references to fashion magazines, pop art, psychedelia, underground comics, arty pornography and much more — is dizzying.

“Belladonna of Sadness” is undoubtedly a landmark of animated film, and arguably a masterpiece. But it’s a very disquieting one. After experiencing the picture, you are left with the nagging suspicion that its retrograde ideology and its ravishing imagery are not contradictory attributes but are, rather, inextricably codependent.Glen Kenny
Here (and above) is the trailer.

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