Tattooed Flower Vase — dvd movie review
Our second review title from Kino’s Nikkatsu collection, Tattooed Flower Vase, sees director Masaru Konuma at his most skilled, and most perverse [[If you haven't already, you'll want to read my review of his Erotic Diary of an Office Lady for necessary background]]. Visually the film is stunning, but the story itself is a bit lacking, and perverse to such a degree that it makes the title hard to recommend to even the most ardent fan of Japanese cinema.
In a nutshell, the basic story of Tattooed Flower Vase concerns a love triangle between a lonely aging widow, Michiyo (Naomi Tani), her beautiful young daughter, Takako (Takako Kitagawa), and the daughter’s middle-aged suitor, Hideo (Shin Nakamaru. It all starts when Takako witnesses a perceived scandalous situation involving her mother and her less than upstanding boss. Profoundly disturbed by the situation, the young woman runs into traffic, being struck by the aforementioned Hideo’s vehicle. The two young folks become involved, but when Michiyo finally meets her daughter’s beau she is instantly reminded of an old flame, a legendary Kabuki star with a penchant for twirling, whom young Hideo knows as his father. Needless to say, the triangle is formed, passions arise and the relationship between the two women becomes even more strained. A series of perversely passive aggressive acts result as each woman seeks to have Hideo for her self. Passion soon gives way to delusion, and Michiyo spirals out of control, acquiring a full body tattoo of the Legend of Doji, and becoming something of an exhibitionist in the process. The film culminates in a sudden wash of despair, which proves at once somehow entirely appropriate, yet completely disjointed from all the preceding action.
Although the above synopsis may sound somewhat intriguing, the execution is anything but. By and large the story takes a back seat (make that a back seat two station wagons back) to lengthy scenes of sexual intercourse, regardless of whether or not the colliding bodies have any impact on the narrative. In fact, the setups are something 
akin to the stereotypical porn setups, with zombified sleepwalkers walking into a room, meeting, humping, and going about their own separate ways. Some characters even are introduced, only to be involved in a single sequence, then completely disappear. At no real time do you feel the pain and emotional suffering of the situation, nor do you really care.
Narrative aside, the film is undeniably cinematic. Visually, this film is head and shoulders above Erotic Diary of an Office Lady. Colors are extremely vivid, and compositions see a number of exquisitely framed shots, but the treatment truly belies the utter trash that is the story. There are certain sequences, that on their own, shown out of context, are undeniably sensual, for example a sequence of Naomi Tani in a loft, succumbing to the need for self pleasure upon hearing the enraptured moanings of a couple in the floor below, both acts captured in an impressive birds eye rafter-shot. However, once placed in the context of the story, with the realization that the masturbating woman is the mother of the daughter engaged in intercourse on the lower floor, it all becomes a bit discomforting, disgusting, and in a sense, perversely comedic. Other sequences, including one of an eroticised date rape prove utterly reprehensible, even given director Konuma’s insistence that he is only depicting fantasy. I’m not sure what kind of circles he hangs out in, but I’d like to think the people I know don’t harbor such dark desires.
Naomi Tani is something of a strange and disturbing persona. One of the most popular pink film stars, Tani was arguably more famous for her voluptuous body and her willingness to contort it into painful positions, than any sort of star presence or acting ability. The star of such films as Wife to Be Sacrificed and Flower and Snake, Tani often thought of her fans first and the comfort of her person second, subjecting herself to all sorts of punishments in the name of “pleasing her fans.” Her adamance that the abuses be as realistic as possible drew one 
director to call her a demon (or a monster, depending on your source), and her work on Flower and Snake alone resulted in the permanent deformation of her breasts.
Her work in Tattooed Flower Vase is certainly less extreme, but it is nonetheless disconcerting. There is just something about the woman that doesn’t’ sit right, her sort of melancholic vacuous state, existing in a complete disconnected realm from the world around her. While possibly part of her performance, it felt a little too personal to be faked (sort of like Dennis Hopper’s tendency to play himself). It’s important to note that my opinion is irreversibly colored by interview material I read in Thomas Weisser’s excellent book, The Japanese Cinema Essential Handbook, but I personally view the woman as being host to a whole slew of psychological issues; a homely, self-hating masochistic exhibitionist seeking acceptance in the eyes of sadists. Not the most enjoyable person to watch.
Alas, again I have run overly long with what initially seemed a straightforward review. In short, Tattooed Flower Vase is a visually arresting film, but so close to actual pornography that I cannot truly recommend it as a legitimate, artistic film. At least, not morally. Both story and performances are lacking, and the subject matter is in many parts completely off-putting. Still, there is a certain degree of quality about the whole 
production that makes it seem somehow more palatable. I guess, in the end, it all depends on what you look for in a “roman porno” (I myself am a fan of the more subversive aspects), and your tolerance for kink. If you’re interested in the works of Masaru Konuma, you could do worse than this title.
The DVD
Again, Kino’s transfer is absolutely top notch. Tattooed Flower Vase is presented in a completely restored transfer, maintaining its original 2.35:1 aspect ratio. The whole thing is criterion grade, with colors bright, vivid and sharp, whites ultra-white, and blacks deep as pitch. In fact, the transfer was so nice, it prompted Kris to remark something to the effect of “why did they bother to make this film look this good?” Seriously, this is one of the best restorations of last year.
The DVD itself is again slim on extras. Featured are the original theatrical trailer for Tattooed Flower Vase, and the same Masaru Konuma biography that was featured on Erotic Diary of an Office Lady. There’s nothing else to report.
All in all, this is a very nice treatment for a questionably deserving film. If you are collecting these films, it will make a very nice addition to your shelf. If not, you might want to spend your money on one of the other Kino Nikkatsu titles instead.
About the Author
