Post by morrisondylanfan on Aug 12, 2018 0:26:09 GMT
My 200th post!
7: Rasuto Furankenshutain (1991) 6
Hi all,finishing my Japanese Horrors of '91 double bill with this,I would say that if anyone is planning on watching some Uncle Jess in October,this would actually work well with The Erotic Rites of Frankenstein (1973)-another,more surrealist adaptation.
For his lone departure from postmodern theatrical experimentation stage productions to film, writer/ director and star Takeshi Kawamura revisits his 1986 play Last Frankenstein. Taking the bare bones of Mary Shelley’s creature, Kawamura’s uses them to focus on Japanese sensibilities, with Kawamura exploring the ritual of suicide in Japan, (with the forest chillingly looking like Aokigahara) sex without love at the centre of the relationship, and the evolution of people and society.
Examining themes explored in his stage work, Kawamura is sadly unable to blend the serious with shots at grisly Horror, as deep exchanges over a rise in suicide,are paused with morbid fetuses suicides. Taking advantage of the canvas offered by film, Kawamura & cinematographer Yôichi Shiga make their moments of gore stand out as ill-fitting, by making the rest of their creation stylishly surreal, via stilted shots of everyone frozen in time, and a dour bleak atmosphere covering the DR and his grotesque family bringing to life the last Frankenstein.
7: Rasuto Furankenshutain (1991) 6
Hi all,finishing my Japanese Horrors of '91 double bill with this,I would say that if anyone is planning on watching some Uncle Jess in October,this would actually work well with The Erotic Rites of Frankenstein (1973)-another,more surrealist adaptation.
For his lone departure from postmodern theatrical experimentation stage productions to film, writer/ director and star Takeshi Kawamura revisits his 1986 play Last Frankenstein. Taking the bare bones of Mary Shelley’s creature, Kawamura’s uses them to focus on Japanese sensibilities, with Kawamura exploring the ritual of suicide in Japan, (with the forest chillingly looking like Aokigahara) sex without love at the centre of the relationship, and the evolution of people and society.
Examining themes explored in his stage work, Kawamura is sadly unable to blend the serious with shots at grisly Horror, as deep exchanges over a rise in suicide,are paused with morbid fetuses suicides. Taking advantage of the canvas offered by film, Kawamura & cinematographer Yôichi Shiga make their moments of gore stand out as ill-fitting, by making the rest of their creation stylishly surreal, via stilted shots of everyone frozen in time, and a dour bleak atmosphere covering the DR and his grotesque family bringing to life the last Frankenstein.