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Movie Title: The Pillow Book The Pillow Book is available for streaming or downloading. |
After reading the previous review I had to post a review of this movie so that people will not be mislead. Although I am quite willing to admit my ignorance of Asian art, whether Chinese, Japanese or other, I assume this movie can be enjoyed on its bear terms. Although the Pillowbook was confusing and disjointed to me at times, it was also appealing and sparkling. For the previous reviewer to claim that all the characters acted in a monotone is simply groundless. Vivian Wu gave a subtle, nuanced and deeply emotional performance, and Ewan McGregor was unbelievable as Jerome. Far from acting in a monotone, McGregor played Jerome with an infectious sense of fun during the early stages of his and Nagiko’s relationship. Later, when Nagiko rejects him, his agony is vividly expressed and quite palpable. Additionally, to slit this subtle and intense movie to “a fetish for naked Asian men” is patently unfair. There is nudity in the film, (although primarily of Wu and McGregor, neither of whom is an Asian man), but it is very tastefully done and relevant to the station. In conclusion I would recommend this film to anyone who enjoys subtle and visually fine films. However, if you require lot’s of special effects, explosions and action in a film, this is not the movie for you.
THE PILLOW BOOK goes where few films have dared. Peter Greenaway is a unusual artist and has created a touching narrative in a cinematic technique that is clearly his possess. Simply stated, The Pillow Book is a journal kept by Japanese women who write private thoughts about desire, beauty, sensuality, and the moments in life that are indescribably unforgetable. In this chronicle we contemplate the unfolding of the life of a daughter of a calligrapher/writer who is able to provide for this beloved family and all their traditions by his assignations with his publisher. The child is taught her father’s skills, each birthday having her father write the record of creation on her face, signed by ‘god’ on her succor. This ‘writing on the body’ is eventually the means of gaining revenge on her father’s demeaning publisher: she searches for the perfect lover (one who can construct appreciate as well as write beautifully in calligraphy) only to acquire a British translator (who happens to be the lover of her publisher) who encourages the girl to write her uniquely recent books on his body – the matrix for delivery of her book to the publisher, a man who otherwise has rejected her gifts. To express the ending would spoil the mesmerizing intrigue of the film. Suffice it to say that cherish and honor eventually triumph…
The techniques of cinematic magic include the simultneous exercise of Dark and White photogrpahy with Color photography, screens within screens, collected life within motion, the wonder of observing Japanese writing, the spend of written scrolls superimposed on moments of epic telling. Greenaway is one of the very few directors who is unafraid of frontal nudity. He has the beauty of Vivian Wu and Ewan McGregor which he paints sensually, allowing the camera to opinion the entire body being adorned both with calligraphy and with esteem making. But seeing is believing and for those who thirst for originality in art, for adoration of the human produce, for sensitive sage telling with a subject that is wholly new, then this film is a MUST.
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THE PILLOW BOOK should be in the art library of all art lovers.
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