A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Search This Blog

Showing posts with label Profound Desires of the Gods. Show all posts
Showing posts with label Profound Desires of the Gods. Show all posts

Sunday, October 25, 2026

Profound Desires of the Gods (Shohei Imamura, 1968)


Cast: Kazuo Kitamura, Choichiro Kawarasaki, Hudeko Okiyama, Kanjuro Arashi, Rentaro Mikuni, Yukuo Matsui, Yoshi Kato. Screenplay: Kenji Hasebe, Shohei Imamura. Cinematography: Masao Tochizawa. Production design: Takeshi Omura. Film editing: Mutsuo Tanji. Music: Toshiro Mayazumi.

Shohei Imamaura's Profound Desires of the Gods makes many demands on the viewer in addition to its 172-minute length. The chief demand lies in the characters, most of whom are the incestuous members of the Futori family, outcasts on the isolated Kurage Island. Theirs is an insular life indeed, at least until Kanya (Kazuo Kitamura), an engineer, is sent there by his company with a view to developing a sugar cane mill there. The engineer's search for a source of fresh water puts him into intimate contact with the Futoris, particularly the highly sexed and mentally challenged Toriko (HIdeko Okiyama). There's also a cult religion maintained by priestesses that's an obstacle to the developers. The culture clash on which the film centers is familiar enough, and it takes a predictable course. Some critics consider it Imamura's masterpiece, but it's a difficult film to engage with because of the eccentricities of the characters. The images of the island -- it was filmed on Ishigaki, part of the Yaeyama Islands archipelago southwest of Okinawa -- are often spectacular. The remote location led to cost overruns and delays in the filming, which took 18 months, and the film was not a commercial success.