Bara no soretsu (1969)
DVD rip |105 min | XviD 640x480 | 1602 kb/s | 384 kb/s AC3 | 23.97 fps | 1.45 GB + 3% recovery record
Japanese | Subtitles: English, Spanish, French, Russian, Italian and Portuguese .srt |Genre: Drama/Trash | MU/RS
DVD rip |105 min | XviD 640x480 | 1602 kb/s | 384 kb/s AC3 | 23.97 fps | 1.45 GB + 3% recovery record
Japanese | Subtitles: English, Spanish, French, Russian, Italian and Portuguese .srt |Genre: Drama/Trash | MU/RS
This violent dramatic bloodbath concerns a love triangle in a gay bar in Tokyo. Eddie (Peter) and the transvestite Leda (Osamu Ogasawara) both have sexual designs on bar manager and drug dealer Gonda (Yoshio Tsuchiya). Gonda fears Leda will expose him to the police if he does not give in to his/her advances. When Leda commits suicide, Eddie and Gonda are free to engage in their homosexual yearnings for each other. When Gonda discovers he is Eddie's father, he kills himself with a knife. A distraught Eddie then uses the same knife to cut his own eyes out.
A feverish collision of avant-garde aesthetics and grind-house shocks (not to mention a direct influence on Stanley Kubrick’s A Clockwork Orange), Funeral Parade of Roses takes us on an electrifying journey into the nether-regions of the late-’60s Tokyo underworld. In Toshio Matsumoto’s controversial debut feature, seemingly nothing is taboo: neither the incorporation of visual flourishes straight from the worlds of contemporary graphic-design, painting, comic-books, and animation; nor the unflinching depiction of nudity, sex, drug-use, and public-toilets. But of all the “transgressions” here on display, perhaps one in particular stands out the most: the film’s groundbreaking and unapologetic portrayal of Japanese gay subculture.
Cross-dressing club-kid Eddie (played by real-life transvestite entertainer extraordinaire Peter, famed for his role as Kyoami the Fool in Akira Kurosawa’s Ran) vies with a rival drag-queen (Osamu Ogasawara) for the favours of drug-dealing cabaret-manager Gonda (Yoshio Tsuchiya, himself a Kurosawa player who appeared in such films as Seven Samurai, Throne of Blood, and High and Low). Passions escalate and blood begins to flow — before all tensions are released in a jolting climax that prefigures by nearly thirty years Tsai Ming-liang’s similarly scandalous The River.
With its mixture of purely narrative sequences and documentary footage, Funeral Parade of Roses comes to us from a moment when cinema set itself to test, and even eradicate, the boundaries between fiction and reality, desire and experience; consequently, the film shares a kinship with such other 1969 works as Masahiro Shinoda’s Double Suicide and Ingmar Bergman’s A Passion [The Passion of Anna]. Yet Matsumoto achieves a zig-zag modulation between pathos and hilarity that makes his picture utterly unique: a filmic howl in the face of social, moral, and artistic convention. (MOC)
Cortejo fúnebre de rosas
Toshio Matsumoto es uno de los pioneros del cine de vanguardia en Japón. En 1969, provocó un escándalo descomunal con Funeral Parade of Roses, un largometraje protagonizado por homosexuales, travestis y transexuales, rodado en blanco y negro. Según algunos críticos, este film podría haber servido de inspiración a Stanley Kubrick para rodar La naranja mecánica en 1971. El protagonista de Funeral Parade of Roses es un club-kid llamado Eddie (interpretado por el célebre transformista nipón Peter), que sufre alucinaciones sangrientas en las que aparecen su madre y su padre. Matsumoto combina la historia de Eddie, basada en el mito de Edipo pero con el sexo cambiado (aquí, el hijo mata a la madre y se acuesta con el padre), con improvisaciones pop y psicodélicas de todo tipo: entrevistas reales, performances artísticas, experimentos audiovisuales.
Oedipe est un drag-queen, ben ouais. Oeuvre d'Avant-Garde à la structure littéralement éclatée, film dans le film dans lequel les frontières entre fiction et réalité sont passablement floues, on est bien à la fin des années 60 et le phénomène des drags et des gays stigmatise les changements de la société moooooderne. Matsumoto prend plaisir à se faire rencontrer une ancienne tragédie classique avec le "coming-out" des homos et son film tour à tour halluciné, sanglant, euphorisant et mortifère, dans lequel on peut retrouver de multiples influences (de Bunuel à Resnais) est un momument de la contre-culture...
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