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Streaming Onibaba – Criterion Collection Online.
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The Noh camouflage in and of itself is a grisly thing. Featureless and unmoving, it is designed to change expressions when the wearer turns their head a positive scheme, and captures shifting shadows and light. Filmed in color, it would not have nearly the same impact as the devil’s face that leers at us in “Onibaba.” Director Kaneto Shindo has utilized the fat power of this obsolete Japanese artifact, using its supernatural powers to point to us the moral face of a very human imperfect.
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The epic is of the flotsam and jetsam of war, the left-over non-combatants who must smooth live by whatever means they can while commerce and industry is devastated and all able-bodied men are soldiers. In this harsh environment an feeble woman and her daughter-in-law become carrion crows, murdering lone samurai who have escaped wounded from a battle, then selling their arms and armor to a dealer who then sells it abet to the armies, to strap around more corpses-to-be and eventually be recycled into more profits for the women.
Into this self-sustaining cycle comes Hachi, a friend of the ragged woman’s son and young woman’s husband, who claims that the son/husband is plain and he intends to leave unhurried the fighting and resolve advance the two women. The young woman is quiet young, and lusts for the life and vitality she senses in Hachi. The faded woman, fearing abandonment and starvation, plays on the superstitious fears of the young woman, haunting her with a stolen Noh hide of a devil’s face.
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The transformation from the death-cycle of the traditional and young woman, to the living passion of Hachi is a noteworthy transition in “Onibaba.” The raw, naked sexuality between Hachi and the young woman (who is never given a name) is unexpected in a dusky and white film, and thus all the more remarkable. The impotent, icy rage of the broken-down woman, who would spy to stifle that fire and merely preserve existence as it was until she dies is unpleasant in its selfishness. She would pull all such things into the deep, sad hole where she flings the corpses of the samurai she murders. Hmmm…a deep, gloomy hole that is the kill of men’s lives…there must be a metaphor there somewhere.
“Onibaba” is a triumph of taking the masks of society away from human beings, and seeing them bare and naked in their primal area, surviving as they can under dire circumstances. Some determine life, some resolve death.
The deconstrunction and demystification of the samurai epic had been a project Akira Kurosawa had taken upon himself and that had seemingly reached a conclusion in YOJIMBO (1962), but Shindo’s ONIBABA (1964) takes it a step further by presenting them as bedraggled and exhausted, hungry and at the mercy of two seemingly innocuous women. Shindo’s world is hot and sultry, the characters frail and vulnerable. This is a very splendid depiction of the affects of war on the fringes of society and the lengths determined parties must go to in order to survive. As well as exploring this theme Shindo also adds several sharp layers, sexuality and jealousy accomplish a potent combination, as does the inserion of outmoded Japanese folk tales. The result is a film that shows the eroticism of human beings in their most natural and stripped down place. Be hypnotised by the swaying grass fields and the sumptious murky and white cinematography in this Japanese gem. Criterion’s disc is very valid.
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