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27 utilisateurs sur 32 ont trouvé ce commentaire utile :
Dogs In Heat, 27 janvier 2000
Auteur : Roberto Azula (razula@yahoo.com) de Marietta, GA

This particular flick caught my attention with the box description of "an old woman and her nubile young daughter lure unwary samurai into a wheatfield to rob and kill them." Well, there wasn't much luring...most of the samurais were just unlucky enough to wander into the old woman and nubile young daughter's home territory...but the movie was still a superb little find...in a suburban Blockbuster Video, of all places!

This movie, which I found to be faster paced than most Japanese period pieces, is just DRIPPING with weird psychological overtones. The story involves an old woman and her daughter-in-law living off the spoils of wars. Various samurai from countless wars are always stumbling into these bandits' territory and to be summarily jacked for their armor and weapons. It's one big happy family until an old comrade of the daughter's husband returns home and reports that the daughter's husband is dead. We're never really sure if this man killed the husband or not...but that issue is soon is overshadowed by the sexual tension of two women who haven't been with a fella for some time. Eventually, the nubile young daughter helps herself to this new lover, much to the jealous rage of her mother-in-law. So the old woman hatches a scheme to separate these two lovers...but keeping them apart is as difficult as keeping apart two dogs in...well, you get the idea.

The cinematography of this film is excellent. Each shot is meticulously and lovingly shot, building the tension and supplying the canine symbolism. The music is unusual too...it starts off with some hepcat bebop and then regresses into what I can only guess is theme music for an oni (Japanese ogre).

I would highly recommend Onibaba for those evenings where everyone feels a need to be disturbed and entertained at the same time. It also doesn't hurt that Jotsuki Yoshimuru, who plays the daughter-in-law, happens to be drop dead gorgeous...in a punk rock sort of way. You'll see what I mean when you check out this flick.

I doubt you'll find this flick at Blockbuster Video...unless you find one in the middle of a wheat field.....

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28 utilisateurs sur 35 ont trouvé ce commentaire utile :
An absolutely amazing piece of poetry, 3 février 2005

Auteur : The_Void de Beverley Hills, England

To describe this film in one word, that word would have to 'wow', or something to that effect. In short, Onibaba is an absolutely spectacular cinematic spectacle, and one that has few equals in it's field. In fact, it's the perfect fusion between art-house cinema and atmospheric horror! Loosely based on a Buddhist fable, Onibaba tells a story of lust, envy, wrath and betrayal which is wrapped up by way of a hideous demon mask. Onibaba is a human drama before it's a horror movie - all the character actions are driven by their various needs and wants, and the all the comeuppance emancipates from there. The characters and their actions are constantly fascinating, and it's that which predominantly keeps the film alive. We follow a mother and her daughter-in-law; a couple that are forced to eke out an existence in war torn Japan by killing passing samurai's and selling their belongings for food. Their existence is upset one day, however, when the son's friend, Hachi, returns from the war to the place where the two women live.

The title of the film roughly translates into English as 'demon woman', and that is an apt title for this story. Although the film doesn't contain any actual demons or other mythical creatures, the real horror comes from the character actions and the film succeeds as a horror film in that way. The atmospheric location, which consists of a huge area covered in reeds, adds weight to film's claim to the horror genre also and the location provides a truly stunning set for this story to take place. The film also features a dark pit, which the women use to dump the bodies of the Samurai they kill, which adds to the fantasy and inventive element of the story. The film is cinematic poetry on many levels, from the bleak yet beautiful cinematography, to the elements of the location mentioned - all the way down to it's central piece of imagery - the mask itself. The mask is the film's centrepiece, and the part's where it features are the most memorable of the movie.

Prolific Japanese director Kaneto Shindô takes us on a tour-de-force of atmospheric direction. He spends a fair amount of time focusing on the reeds blowing in the wind and many of his angles focus on the sky, which will no doubt irritate the less adept viewers amongst us - but the rest of us know that this is a way for Shindô to aptly portray his setting, and every instance when he did that was a delight for yours truly. There are many great shots in this movie, and if you're a fan of technical prowess, Onibaba is your film; and even if you're not, this film is a must see.

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15 utilisateurs sur 19 ont trouvé ce commentaire utile :
ONIBABA (1964) ***1/2, 10 octobre 2004
Auteur : MARIO GAUCI (marrod@melita.com) de Naxxar, Malte

*** Ce commentaire peut contenir des spoilers ***

ONIBABA had been, for as long as I can remember, one of a select group of art-house horror movies – namely Carl Theodor Dreyer's VAMPYR (1932), Georges Franju's EYES WITHOUT A FACE (1959) and Harry Kumel's DAUGHTERS OF DARKNESS (1971) among others – which I seemed destined never to catch up with in my lifetime. Thankfully, however, albeit all fairly recently, I've succeeded in watching each and every one of them, the latest case being Kaneto Shindo's film just a couple of days ago by way of Criterion's remarkable presentation on DVD.

Seeing one particularly tantalizing still and reading about it in film-reference books since childhood had certainly raised my expectations sky-high. Well, having seen it now, I can safely say that it's an excellent movie: striking cinematography, both evocative and rich in imagery, is counterpointed by an unusual yet highly effective music score; direction and acting are equally superb, and the film easily ranks among the finest Japanese films (one of my favorite exponents in World Cinema) I have ever seen. The film's overpoweringly torrid, even carnal, atmosphere reminded me of Hiroshi Teshigahara's WOMAN IN THE DUNES (1964), whereas its supernatural connotations recall Masaki Kobayashi's epic horror compendium KWAIDAN (1964) – but also look forward to Shindo's own KURONEKO (1968), an equally stylish (and perhaps even more fanciful) ghost story.

Still, ONIBABA's reputation as a 'horror' film is somewhat misleading: these elements only come into play during the film's last third (in fact, the very few characters and equally minimal dialogue and plot gives rise to a rather slow – but never tedious – pace), culminating in a truly horrifying final sequence…yet they are so classily presented that THIS is what most viewers remember about the film! Even so, I think that the film's frank depiction of both uninhibited sexuality - via the frequent daughter-in-law/neighbor sexual encounters and the striking image of the nude 'mistress' within the sleazy trader's lair - and repressed desire - the memorable scene of the externalization of the mother's frustration (at her daughter-in-law's continuing sexual activity and, with it, the realization of her own fading looks and subsequent rejection by the neighbor) upon a tree trunk – is an equally remarkable achievement.

In fact, I was somewhat surprised by the copious (if always tasteful and inoffensive) amount of nudity in the film, though this was certainly required not only by the themes discussed above but also by the film's setting in the sweltering heat of Japanese marshes. From the very first sequence – the elliptical and cold-blooded murder of the ravaged warriors, reminiscent of an early one in Akira Kurosawa's THE HIDDEN FORTRESS (1958) - the mother and daughter-in-law are seen returning to their huts, gobbling up their miserable lunch and expire of fatigue, practically naked, on their bunk-beds as any legitimate bread-winner would do after a hard day at work, indicating that this state of events has been their daily routine for some time now. For an equally impressive look at the reality of the hardships imposed upon those who stayed behind during the period in which the Japanese waged feudal war on each other, one needs only to refer back to Kenji Mizoguchi's sublime UGETSU (1953) - quite simply one of the most beautiful black-and-white films ever made which, coincidentally, just like ONIBABA, may also be regarded as an exquisite ghost story.

If I had to name one slight gripe I had with the film, it would be the exact same one eminent British film critic Leslie Halliwell had had with my favorite Luis Bunuel film, THE DISCREET CHARM OF THE BOURGEOISIE (1972): '…makes all its points beautifully and then goes on twenty minutes too long.' I don't concur with his judgment on the Bunuel film but, in ONIBABA's case, the clandestine night-time journeys of the daughter-in-law towards the neighbor's hut do tend to get repetitious, although I must say that the recurring swishing sounds and entrancing images of the reeds being parted by the girl's breathless running is highly effective and, in the director's own view, full of erotic implications. One thing I particularly liked about ONIBABA is the film's ambiguous and slightly inconclusive ending: did the neighbor get killed when he visited the trader's lair?; did the mother fall to her death in the very same pit she used to 'store' her victims?; how would the daughter-in-law be able to survive now that both her accomplices have met their doom?

The DVD extras, especially Shindo's delightful interview, were both illuminating and entertaining. I do hope Criterion proposes such classic Japanese fare more frequently (only Kurosawa seems to be amply represented so far) as one really cannot get enough of them…

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16 utilisateurs sur 21 ont trouvé ce commentaire utile :
Investigation Into Jealousy, 9 décembre 2004

Auteur : J. M. Verville de Seoul, Republic of Korea

Onibaba is a very well done film, purposefully using black and white cinema to its' advantage in this stunning portrayal of murder, jealousy, and uncontrollable human instinct in a dark period of Japan's history.

A film that aims at portraying the baser side of human nature and investigating human psychology, it is chalk-full of symbolic scenes and sequences. From start to finish it draws you in with the odd imagery and scenery of Japan's rural areas, and even though in this film though there are very few characters and elements that are to it, both visually and literally, through its' minimalism it effectively tells its' story.

This film is both very artistic & symbolic as well as literal and upfront, juxtaposing very graphic, real images of the face of humanity that demand the viewer to infer much throughout the whole of the film. When going into this film, I would say that it is very important for the viewer to think of the film as being very symbolic for the instincts and base nature of mankind, and perhaps even a 'state of nature' portrayal of humanity. If you watch this film with that in mind, it will help with the inferences that one must make to get the most out of this film.

As it stands by itself, aside from the deeper meaning, it is an intriguing story that is a veritable 'slice of life' film in the darker sense, viewing the way that people had to live during a period of war and hard times in feudal Japan. It deals with the hardships that these people face, and their method of survival, in addition to a very human story of jealousy and portrayal with a very interesting culminating point that I did not expect at all. The climax of the film is very much worth the build-up, though at times it seemed to be rather slow.

Overall, a very important piece of film when it comes to the symbolism and techniques employed. Through its' minimalism and black-and-white cinematography we are really treated to a great film that is, of its' own right, an influential and great movie. The cinematography is exceptionally good, especially the use of the reeds and the light at night.

I would recommend this film to anybody with a serious interest in film, as well as anybody who likes a good film that investigates the darker side of human nature.

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10 utilisateurs sur 10 ont trouvé ce commentaire utile :
Creepy & Atmospheric!, 11 décembre 2004

Auteur : Cava-1 de Royaume-Uni

Onibaba was for me a fluke watch and I'm glad the risk paid off.

Set during the feuding Warlord period, the films deals with a wicked Mother and Daughter-in-law who trap and kill wounded Samurai soldiers, dump their corpses into a large black hole and make off with their armour in tow to sell. Not soon after a supposedly wounded soldier Haichi, turns up explaining to both the women that their Son/Husband died during a village raid on their way back from combat.

It's not too long before things begin to get a little complicated when Haichi begins to fulfil his sexual appetite with the young woman and the old woman in hot pursuit of the two figuring out a way to disrupt their ongoing seduction play between them as she firmly believes that Haichi maybe lying about the death of her son in order to win over the young woman. But just before she can carry out her vengeful act something turns up that'll either hinder/help in her quest to stop the affair.

Onibaba has a terrific setting based within the large vast ocean-like field of tall bladed grass, especially the fact that it's shot in Black & White that provides a more bleaker look to a feudal war-torn period. With that said the film best serves it's purpose to watch on a dark winter night that gives it a more creepy "cutting edge" atmosphere. With 40 years down the line it's not surprising to know why many overlooked films are now beginning to see the light of day. Glad to know this was an ideal choice to make to watch and buy.

8/10

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16 utilisateurs sur 23 ont trouvé ce commentaire utile :
very creepy flick, 30 juin 2005

Auteur : planktonrules de Bradenton, Florida

While not the greatest Japanese movie ever made, this proves that you don't need Akira Kurasawa to direct an excellent Japanese film.

"Onibaba" is Japanese for "grandma-monster" and this refers to a story the older woman tells the younger in order to get her to stay home and stop carrying on her affair with a ne'er-do-well. Unfortunately, when the older lady dresses up AS the monster in order to scare her, things change for the worse unexpectedly.

Despite this brief description, this isn't really a horror movie, but a tale about three basically greedy people. So what did I like about it? Well, the story has such interesting twists and turns that keep the viewer guessing and it is a good study of human nature in its worst form. Overall, very odd but captivating.

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9 utilisateurs sur 10 ont trouvé ce commentaire utile :
Surprisingly entertaining and delightfully wicked, 11 juillet 2007

Auteur : Potty-Man de Israël

*** Ce commentaire peut contenir des spoilers ***

This film was not at all what I expected.

It had more of a plot than I thought it would. I had no idea what it was about before I saw it, only that it was a stylish horror film that draws influence from the Kabuki. I assumed it would be sort of surreal and abstract, kind of like a nightmarish dance. But it was very traditional in the way it stuck to the story. Which wasn't bad. In fact, I really enjoyed it.

I also thought it would be slow and, to tell the truth, boring, but it surprised me in how it kept my interest throughout. It didn't indulge in needlessly long takes just for the sake of appearing "artistic", and there was always something happening, always a development.

One of the great things about this film is the way the director uses the surroundings to create a stuffy, cramped, yet isolated atmosphere. The tall grass is always present and we never get to see what's more than several feet away from the characters. Don't laugh, but it reminded me of the fog in Silent Hill (the video game, not the movie).

SPOILERS BELOW:

I may be wrong, but I thought I detected some Hitchcockian influence in the film. The whole domineering mother-figure theme, the way the audience is in on the secret while the other characters stay oblivious. Also the plot had that wicked streak that is present in episodes of Alfred Hitchcock Presents. Especially the bit of "poetic justice" at the end - she pretended to be a demon, therefore she became a demon.

I loved the tonal shift about two thirds of the way through, from realistic drama to a sort of haunted folktale. And the ending was just perfect.

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9 utilisateurs sur 10 ont trouvé ce commentaire utile :
As brilliant as Kurosawa!, 6 novembre 2005

Auteur : Coventry de the Draconian Swamp of Unholy Souls

*** Ce commentaire peut contenir des spoilers ***

Kaneto Shindô is a name no one has ever heard about, but his "Onibaba" is a brilliant masterpiece that can easily compete with some of acclaimed genius director Akira Kurosawa's greatest films, such as "Throne of Blood" and "In the Woods". This is a dramatic and very sober tale, set during a devastating civil war in Japan and focusing on two left-behind women living in a seemly endless field of reeds. In order to survive, the women (an elderly lady and her daughter-in-law) kill random samurai that pass through the reeds and sell their armor to a weapon dealer. When a male neighbor returns, claiming the women's son and husband got killed in battle, the young woman develops feelings of lust for him. The old woman quickly gets jealous and afraid and thinks of ways to tear the young couple apart. The power of "Onibaba" almost entirely depends on the minimal amount of filming locations and the unsettling cinematography. Director Shindô portrays the body-high reeds as some sort of inescapable hell, complete with surreal death traps (the pit!!) and lurking mystical forces (the mask!!). The monotonous, black-and-white camera-work excellently illustrates the poverty and misery of the women. Long before turning into a petrifying horror story, the film is a mesmerizing allegory on the human behavior when faced with war and solitude. The music is fantastic and the script contains some downright brilliant dialogues. Probably the best I've ever seen in Asian film-making! Onibaba's biggest trump unquestionably is the genuinely eerie demon mask, used by the old women to tame her daughter-in-law's growing lust. This relic is breathtaking and effectively suits the atmosphere of this Japanese masterpiece, which is weird...grim...and totally unique!

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11 utilisateurs sur 14 ont trouvé ce commentaire utile :
solid rural horror fantasy, 24 décembre 2004

Auteur : fertilecelluloid de Mountains of Madness

Director Kaneto Shindo's ONIBABA is a fantastic, rich, atmospheric horror film set in an amazing rural location. Its influence on decades of rural-set genre pics is undeniable.

In a medieval, warring Japan, a wild, young woman and her mother-in-law rob and kill lost samurai in order to survive. Problems begin when the younger woman becomes involved with an intended victim.

Staged in a rural world of tall, swaying grass and swollen rivers, the film contains little dialogue and little exposition. It relies heavily on the non-verbal performances of the female leads and the superbly conveyed location.

It is erotic, creepy, sensual, savage and beautiful.

Cinematic poetry.

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7 utilisateurs sur 7 ont trouvé ce commentaire utile :
Dreamy, 24 juin 2006
Auteur : el-mno-p de Newcastle, England

*** Ce commentaire peut contenir des spoilers ***

Kaneto Shindo's haunting tale of sexual desire is certainly a different film to what I had expected, but in a good way. I expected a horror film and, while 'Onibaba' certainly has elements of the genre, what I saw was an exploration of raw sexuality. In many ways, it's similar to another Japanese New Wave classic, Hiroshi Teshigahara's 'Woman of the Dunes', which was made in the same year, in its treatment of eroticism and isolation. Rather than a contemporary setting, however, 'Onibaba' is set around the 16th Century, a brutal period in Japan's history, and replacing a pit in the middle of a desert are endless fields of seven-foot-high susuki grass, in which a woman (played by Nobuko Otowa) and her daughter-in-law (Jitsuko Yoshimura) inhabit a concealed shack, luring stray samurais to their deaths in a deep pit and selling off their armour to local weapons dealers.

When a neighbour returns from the ongoing war with news of the son/husband's death, he opens up a rift between the two women: Yoshimura requires another man to satisfy her urges, while Otowa realises that she cannot survive without the help of the younger woman and attempts to separate the young lovers using any trick at her disposal. Both women try to conceal their deceit from one another: Otowa uses the myth of religion to cause her daughter-in-law to feel guilty about her 'sinful' behaviour, even though Yoshimura defies her still. The tension between the two (of which only one, Otowa, is fully aware) builds to a conceptually rich and extremely satisfying finale, where the film becomes what it had hinted at throughout – an excellent supernatural thriller.

However, the world Shindo creates in his film is so consuming, with oneiric visions of the windswept high grass enclosing the protagonists in their prison of struggle and poverty, the extremely erotic sex scenes, all dirt, sweat and passion, an abrasive score and sounds that jarred and meshed with the visuals in such an alluring way, that I was almost unwilling to let the film reach its point of release. 'Onibaba' is a film which I could have lost myself in for hours, if only it had lasted that long. But the bang is even more satisfying than the burn. This film deserves its reputation as a classic.

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