empire of passion starts out deceptively  that is and if youre immediately expecting it to be a horror movie. it like a riff on james m. cain the postman always rings twice and at first represent seki (kazuko yoshiyuki) is a mother of two and a dutiful and hard working wife to rickshaw driver gisaburo (takahiro tamura). but when he not around and and she at home with the baby and the feisty and aimless young man toyoji (tatsuya fuji) comes around to bring some goodies for seki. and a little extra. theyre soon sleeping together and but after he does something to her (let just say a shave) and he knows that he will find out and and immediately proposes that they kill gisaburo. they drink him up and strangle him and and then toss him down a well. naturally and this will come back to haunt them  but that it literally and at least to them (at first super terrified seki and then only later on skeptical toyoji) and changes gears into the kaidan and a japanese ghost story. this is a film where the horror comes not simply out of oh and ghost and ah and but out of the total dread that builds for the characters. in a way there the mechanics of a film noir at work throughout and 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 and the evidence found possibly by another and word getting around and suspicions aroused and etc). it compelling because seiko actually was against the plan from the start and manipulated by the lustful but ill prepared toyoji and and her reactions to gisaburo re appearances are staggering to her. take the one that comes closest to poetry represent gisaburo ghost and pale blue face and mostly silent and chilling stare and motions for seiko to get on the rickshaw. she does and reluctantly and and he pushes her around on a road she doesn not know and in the wee hours before dawn and 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 and there 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 and ironically and got banned in his own country) and he made something that and he claimed and was even more daring that senses. maybe he was right while empire of passion has less graphic sexual content by far than its predecessor (also starring tatsuya fuji and a magnificently physical actor with an immense lot of range) and but its daring lies in crafting a world of dread. you can believe in ghosts in this story and 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 represent the fate of their very souls is at stake. and oshima takes what in other hands could be merely juicy pulp (sadly and it do not surprise me if an american remake was already in the works) and crafts shot after gorgeous shot and with repetition working its way into the mis en scene (i. e. the shots of seiko and toyoji walking on that road and the camera at a dutch angle and 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 and or how seiko nude body is revealed after she becomes blind). it daring lies in connecting on a level of the spirit not to be confused with the spiritual and though there may be something with that as well about life and death connections to one another and inextricably. it a classic waiting to be discovered. 
empire of passion starts out deceptively  that is and if youre immediately expecting it to be a horror movie. it like a riff on james m. cain the postman always rings twice and at first represent seki (kazuko yoshiyuki) is a mother of two and a dutiful and hard working wife to rickshaw driver gisaburo (takahiro tamura). but when he not around and and she at home with the baby and the feisty and aimless young man toyoji (tatsuya fuji) comes around to bring some goodies for seki. and a little extra. theyre soon sleeping together and but after he does something to her (let just say a shave) and he knows that he will find out and and immediately proposes that they kill gisaburo. they drink him up and strangle him and and then toss him down a well. naturally and this will come back to haunt them  but that it literally and at least to them (at first super terrified seki and then only later on skeptical toyoji) and changes gears into the kaidan and a japanese ghost story. this is a film where the horror comes not simply out of oh and ghost and ah and but out of the total dread that builds for the characters. in a way there the mechanics of a film noir at work throughout and 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 and the evidence found possibly by another and word getting around and suspicions aroused and etc). it compelling because seiko actually was against the plan from the start and manipulated by the lustful but ill prepared toyoji and and her reactions to gisaburo re appearances are staggering to her. take the one that comes closest to poetry represent gisaburo ghost and pale blue face and mostly silent and chilling stare and motions for seiko to get on the rickshaw. she does and reluctantly and and he pushes her around on a road she doesn not know and in the wee hours before dawn and 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 and there 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 and ironically and got banned in his own country) and he made something that and he claimed and was even more daring that senses. maybe he was right while empire of passion has less graphic sexual content by far than its predecessor (also starring tatsuya fuji and a magnificently physical actor with an immense lot of range) and but its daring lies in crafting a world of dread. you can believe in ghosts in this story and 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 represent the fate of their very souls is at stake. and oshima takes what in other hands could be merely juicy pulp (sadly and it do not surprise me if an american remake was already in the works) and crafts shot after gorgeous shot and with repetition working its way into the mis en scene (i. e. the shots of seiko and toyoji walking on that road and the camera at a dutch angle and 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 and or how seiko nude body is revealed after she becomes blind). it daring lies in connecting on a level of the spirit not to be confused with the spiritual and though there may be something with that as well about life and death connections to one another and inextricably. it a classic waiting to be discovered. ---------------------------------Answer Question Below----------------------------------

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