Flowers bloom quite often, but not here. Flowers bloom often, but not here.
This is how you can characterize the life and purpose of women for pleasure - yujo in Japan in the 19th century, which will be discussed in the film directed by Toyoshima Keisuke "Kurtisan with flowers on the skin." The main character of the film courtesan Asagiri has a very interesting feature of her skin with an increase in body temperature is covered with small scars (a gift left from a crazy mother who scarred with a burning pipe with tobacco), resembling cherry petals.
And so the story of this fragile and unhappy girl is very ambiguous and difficult.
The script is based on Ayako Miyagi’s book The Night Flower. Probably, therefore, the plot of the film is thought out to the end and the choice of locations also leaves no questions. The viewer is really immersed in the world of these streaming silk yukato fabrics, tapping the wooden sole of the gata, the bizarre and intricate hairstyles of Japanese courtesans and their thin, strictly whitewashed necks. And all this is 19th century Japan.
Playing actors can’t be fun either. Adachi Yumi perfectly got used to the role of courtesan Asagiri, who could be gentle and at the same time strong, indifferent to others and at the same time sensual with her lover Hanjiro. By the way, he (Yasushi Foutikami) was also able to help the viewer understand without unnecessary words what the main character feels like tenderness or anger, empathy for the fate of the heroine or disgust for the main antagonist of the rich Mr. Yoshi-san (Kanji Tsuda), who also loved Asagiri only, in another way, more like a rare doll in his collection. Throughout the film, the audience’s distaste for Yoshi-san only increases and this, of course, is the merit of Kanji Tsuda’s acting skills.
The work of the entire creative team of director Toyoshima Keisuke cannot be ignored. The filmmaker is a true philosopher. The movements of his camera are leisurely, plans in some places are thoughtfully slowed down, and the footage of nature harmoniously fit into the main actions of the film.
Separately, I want to note the musical design of the film. Composer Shuhei Kamimura perfectly weaves the entire musical spectrum into the film, adding a minor sound of Japanese folk musical instruments and guitar chords.
In the end, I would like to say how this film differs from other similar films about courtesans, geishas, concubines. Namely, the fact that here somehow the fate of such women, many of whom did not choose such a life, was predetermined for them by an intriguing fate.
Flowers do not bloom for long,
Later they will wither ...
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