Zigeunerweisen, which translates to Gypsy Airs from German and refers to a recording by Spanish violinist Pablo de Sarasate, is the first part of director Suzuki Seijun's Taisho Roman Trilogy. Let me explain these elements a little bit further. The movie title refers to the recording because the two lead characters are listening to it and trying to figure out the violinist's words that are briefly being uttered. The trilogy refers to films taking place during the Taisho era between 1912 and 1926. Said era is often interpreted as inspired by arts, democracy, diplomacy, individualism and liberalism. All three films tell romantic dramas with hints at gothic ghost stories.
This first movie marked a remarkable independent return for veteran director Suzuki Seijun thirteen years after his last movie Branded to Kill created for production company Nikkatsu Corporation. The director was fired by the corporation for a lack of focused scriptwriting and commercial acclaim and successfully sued the company over many years which led to dramatic changes in Japan's cinematic industry. In the meantime, Suzuki Seijun had only created negatively received social satire A Tale of Sorrow and Sadness. Zigeunerweisen was shown in inflatable tents on convenience stores and in public places rather than in public or private cinemas which gathered a lot of attention. The movie is thus also the most commercially successful of the trilogy.
The story revolves around two intellectual former colleagues and friends who couldn't be more different from each other. Aochi is calm, gentle and organized as he prioritizes stability over experiments. Nakasago is wild, rough and disorganized and values experiments over stability. Aochi suffers greatly from believing his wife might have a romantic relationship with Nakasago. On the other side, Nakasago doesn't only seduce his friend's wife but also becomes smitten with a geisha. In his despair, Aochi bonds with Nakasago's abandoned wife during one of his prolonged absences. Despite those struggles, the two men remain friends and the morbid Nakasago suggests that whoever outlives the other should get the other's bones. When Nakasago dies alone in the countryside due to a drug overdose, Aochi continues to be haunted by his friend through his wife's admiration for him, the deceased's geisha's frequent visits and the strange daughter of the dead man.
This movie discusses numerous different themes such as death, desire, family, friendship and love. The film thus inspires profound discussions among cineasts. The mysterious story has several interesting changes and shifts and concludes on a surprising note. The acting performances are excellent throughout. The settings in rural Japan are wonderful to observe. The elegant costumes are truly inspiring. The soundtrack based upon classical music provides much atmosphere.
The film however suffers from its excessive length, clocking in at an ambitious one hundred forty-four minutes, that starkly contrasts the filmmaker's previous films that usually weren't longer than ninety minutes. Especially the movie's middle section is particularly slow, focuses on much repetition and doesn't properly develop the plot. The movie's commercial success was mostly due to its circumstances and presentation but not due to its content and quality.
At the end of the day, Zigeunerweisen is a mysterious drama that should appeal to intellectual audiences, experienced cineasts and people interested in the Taisho era. This movie is however too ambitious, complicated and long to appeal to wider audiences. Its overall style hasn't aged very well either and looks particularly old-fashioned by contemporary standards. You must muster a lot of attention, patience and time to fully embrace this experimental feature film.
This first movie marked a remarkable independent return for veteran director Suzuki Seijun thirteen years after his last movie Branded to Kill created for production company Nikkatsu Corporation. The director was fired by the corporation for a lack of focused scriptwriting and commercial acclaim and successfully sued the company over many years which led to dramatic changes in Japan's cinematic industry. In the meantime, Suzuki Seijun had only created negatively received social satire A Tale of Sorrow and Sadness. Zigeunerweisen was shown in inflatable tents on convenience stores and in public places rather than in public or private cinemas which gathered a lot of attention. The movie is thus also the most commercially successful of the trilogy.
The story revolves around two intellectual former colleagues and friends who couldn't be more different from each other. Aochi is calm, gentle and organized as he prioritizes stability over experiments. Nakasago is wild, rough and disorganized and values experiments over stability. Aochi suffers greatly from believing his wife might have a romantic relationship with Nakasago. On the other side, Nakasago doesn't only seduce his friend's wife but also becomes smitten with a geisha. In his despair, Aochi bonds with Nakasago's abandoned wife during one of his prolonged absences. Despite those struggles, the two men remain friends and the morbid Nakasago suggests that whoever outlives the other should get the other's bones. When Nakasago dies alone in the countryside due to a drug overdose, Aochi continues to be haunted by his friend through his wife's admiration for him, the deceased's geisha's frequent visits and the strange daughter of the dead man.
This movie discusses numerous different themes such as death, desire, family, friendship and love. The film thus inspires profound discussions among cineasts. The mysterious story has several interesting changes and shifts and concludes on a surprising note. The acting performances are excellent throughout. The settings in rural Japan are wonderful to observe. The elegant costumes are truly inspiring. The soundtrack based upon classical music provides much atmosphere.
The film however suffers from its excessive length, clocking in at an ambitious one hundred forty-four minutes, that starkly contrasts the filmmaker's previous films that usually weren't longer than ninety minutes. Especially the movie's middle section is particularly slow, focuses on much repetition and doesn't properly develop the plot. The movie's commercial success was mostly due to its circumstances and presentation but not due to its content and quality.
At the end of the day, Zigeunerweisen is a mysterious drama that should appeal to intellectual audiences, experienced cineasts and people interested in the Taisho era. This movie is however too ambitious, complicated and long to appeal to wider audiences. Its overall style hasn't aged very well either and looks particularly old-fashioned by contemporary standards. You must muster a lot of attention, patience and time to fully embrace this experimental feature film.