Directed by Osamu Takahashi (assistant director to Yasujiro Ozu in “Tokyo Story”), “Only She Knows” mixes detective story with a melodrama in an interesting film noir style that runs at a mere 63 minutes.
“Only She Knows” screened at Japan Society
There is a murderer and rapist on the loose in the 1960s Tokyo, and the events are spanned over a couple of weeks in Christmas- and New Years’- time. Sugi (Fumio Watanabe) and Natsuyama (an Ozu regular Chishu Ryu) are the two police detectives chasing the criminal. He strikes at random women every four days, leaving no traces or clues for the police. Yet, the protagonists have one more thing in common – Sugi dates Natsuyama’s daughter Ayako, who becomes the next victim of the rapist. Although she survives the attack, her honour is still tarnished.
The strict moral code prohibits Ayako from telling about the event to her father or boyfriend.
“Only She Knows” screened at Japan Society
There is a murderer and rapist on the loose in the 1960s Tokyo, and the events are spanned over a couple of weeks in Christmas- and New Years’- time. Sugi (Fumio Watanabe) and Natsuyama (an Ozu regular Chishu Ryu) are the two police detectives chasing the criminal. He strikes at random women every four days, leaving no traces or clues for the police. Yet, the protagonists have one more thing in common – Sugi dates Natsuyama’s daughter Ayako, who becomes the next victim of the rapist. Although she survives the attack, her honour is still tarnished.
The strict moral code prohibits Ayako from telling about the event to her father or boyfriend.
- 1/12/2020
- by Olek Młyński
- AsianMoviePulse
While Osamu Takahashi is not an unimportant figure in the Shochiku Nouvelle Vague movement, his contributions as writer and as Naoki Prize winner are more known than his cinematographic work. One could even argue that his greatest contribution to the Nouvelle Vague movement is not so much his debut narrative, but his fundamental role in the launch of the film journal Shichinin (The Seven) with his circle of fellow directors, which included Nagisa Oshima and Kiju Yoshida.
Despite his limited importance as director, it nevertheless remains valuable to return to and review his debut narrative, which, as it deals with sexual violence, fits perfectly within the Japanese Nouvelle Vague movement as such.
“Only She Knows” is screening as part of Japan Society:
On Christmas Eve, the whole police division is requested to attend a strategy meeting concerning a rapist murderer on the loose. Division Chief Kitae (Kappei Matsumoto) has...
Despite his limited importance as director, it nevertheless remains valuable to return to and review his debut narrative, which, as it deals with sexual violence, fits perfectly within the Japanese Nouvelle Vague movement as such.
“Only She Knows” is screening as part of Japan Society:
On Christmas Eve, the whole police division is requested to attend a strategy meeting concerning a rapist murderer on the loose. Division Chief Kitae (Kappei Matsumoto) has...
- 4/2/2019
- by Pieter-Jan Van Haecke
- AsianMoviePulse
Film series sheds new light on dynamic movement in Japanese cinema with a selection of overlooked titles, including newly subtitled 35mm prints
New York, NY (February 27, 2019) – With its inception in the late 1950s and early 1960s, the Japanese New Wave ushered in a postwar generation of politically engaged and artistically adventurous filmmakers that radically transformed the country’s cinema in theory and practice. Looking beyond internationally lauded figures such as Nagisa Oshima and Masahiro Shinoda, The Other Japanese New Wave: Radical Films from 1958-61 aims to reexamine this dynamic moment in Japanese film history with the introduction of work by lesser-known studio directors, auteurs, documentarists and student filmmakers, including newly subtitled rarities imported from Japan never-before-seen in the U.S.
The series launches on April 5 with Kiju Yoshida’s debut feature Good-for-Nothing, introduced by series curator Go Hirasawa. A key figure in the birth of the New Wave at Shochiku,...
New York, NY (February 27, 2019) – With its inception in the late 1950s and early 1960s, the Japanese New Wave ushered in a postwar generation of politically engaged and artistically adventurous filmmakers that radically transformed the country’s cinema in theory and practice. Looking beyond internationally lauded figures such as Nagisa Oshima and Masahiro Shinoda, The Other Japanese New Wave: Radical Films from 1958-61 aims to reexamine this dynamic moment in Japanese film history with the introduction of work by lesser-known studio directors, auteurs, documentarists and student filmmakers, including newly subtitled rarities imported from Japan never-before-seen in the U.S.
The series launches on April 5 with Kiju Yoshida’s debut feature Good-for-Nothing, introduced by series curator Go Hirasawa. A key figure in the birth of the New Wave at Shochiku,...
- 3/1/2019
- by Ina Karpinska
- AsianMoviePulse
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