Asian

DVD REVIEW . Woman in the Dunes . [Criterion's Three Films by Hiroshi Teshigahara]

First off, I must say how much I’ve always disliked the international theatrical poster for Woman in the Dunes (aka: Suna no onna). While undoubtedly a striking image, filled with a raw and tangible passion, the film is far from “Rapture in the Sand,” erotic art house fare the likes of …And God Created Woman. Granted, there’s a certain pent-up sexuality present in the film, but Woman in the Dunes is deeper, more thoughtful and far more intriguing than that cheap enticement of titillation could ever maintain.

Adapted by Kobo Abe from his own novel, Woman in the Dunes is a haunting study of alienation, love and loss, the dangers of “groupthink” and its ability to crush the will and spirit of the individual. Combined with the stunning direction of Hiroshi Teshigahara, the film is one of the prime examples of classic Japanese cinema proving just as captivating and just as stunning today as it was in its initial release.

The basic setup is thus: A school teacher, family man, and entomology hobbyist, Jumpei Niki, takes a short vacation to the sand dunes in search of a rare breed of beetle. As his first day of bug searching comes to a close, the man finds he’s missed the last bus out of town. In a seeming act of good will, an old man approaches and invites him to stay the night at a house in the nearby village, itself something of an oddity as the buildings that constitute it are surrounded on all sides by immense sand dunes. In fact, it would appear such a setup would require the villagers to take special care to ensure their homes were not swallowed by sand. Jumpei agrees, and is lead to a small house at the bottom of a sand pit, inhabited by a kindly but homely old woman. After being lowered down to her domicile, he eats, makes conversation, washes, and settles down for a good night’s sleep. In the morning, he finds the rope ladder which he used for entry mysteriously withdrawn. In questioning the woman, she offers only a pithy response regarding the need to work and fight the sands for the greater good of the town. Now captive, the former hunter finds himself forced into service, partnered with the simple woman to shovel the ever advancing dunes for the rest of his days.

Having read the original novel, I would have to say this is one of the most faithful adaptations I’ve ever witnessed, and may actually enjoy some benefit form the collaboration between Teshigahara and Abe. In Abe’s book the sand is very much a character in and of itself, what with its mysterious, counter intuitive properties, a single grain being nothing more than a miniscule piece rock, but when set in motion with enough like itself, producing a truly destructive force (astute viewers should further transpose this concept on the actions of the villagers themselves). In Teshigahara’s hands it becomes even more so, serving as metaphor for water, explosions, and even biological fluids. Furthermore, Teshigahara captures little idiosyncratic moments not described in Abe’s novel. Scenes including Jumpei’s scrubbing sand from between his toes, working with the woman to gather spilled glass beads in the sand, and various sequences of domestic quiet juxtaposed against the harsh toil against the sand. Lastly, Teshigahara’s usual exquisite cinematography, skilled editing, and striking superimpositions are in full effect, transforming the tale from a purely intellectual and literary interest to a work of genuine visual artistry.

That said, there are a few points of interest the book has over the film, first and foremost a series of missing persons inquiries on Jumpei (the film shows only the final one), and the wonderful illustrations by Abe’s wife. Then, of course, there is also the added benefit of access to the inner workings of Jumpei’s head. As great as the film is, I do recommend you pick up the novel to bolster your appreciation.

Being that the film is essentially a two person show, the performances of Eiji Okada and Kyoko Kishida are truly exemplary. Throughout the film’s almost two-and-a-half hour runtime they maintain a magnetic hold on the audience. Whether the script requires wonder, anger, lust, animosity, fear, or contemplation, these two give it their all. There are no false notes to take the viewer out of the experience, no self conscious acts to detract from their realism. They are the book’s characters manifest. Thus, watching them is a somewhat a joyous, frightening, and thrilling experience, and sometimes a mixture of all three.

In closing, Woman in the Dunes is an exceedingly smart, beautiful, disturbing, and emotional masterpiece of 1960’s cinema. Increasingly rewarding through multiple viewings, it is one that classic film enthusiasts owe themselves to see.

The DVD
I have an old copy of the Image DVD release of Woman in the Dunes (now long out of print), which was essentially a laserdisc transfer. At the time it was perfectly fine, far clearer than the original VHS tape, and with easier to read subtitles. Now, having seen this new Criterion version, I will safely retire it. Criterion’s new high definition restoration (1.33:1 aspect ratio) is completely flawless. The clarity of the high contrast image is so nice it makes the old disc look completely muddy in comparison. Wow. Furthermore, their new subtitle translation adds a layer of subtlety to the proceedings not present with the old, more general translation. This alone warrants a high recommendation.

As extras the disc features a trailer for Woman in the Dunes, and another audio essay by James Quandt. Unlike his previous essay, on Pitfall, Quandt focuses a good deal on the writings of Abe before delving into the various discussion of shots. In my usual mode, I watched the extras following completion of the above review. In his analysis of the story Quandt cites a number of the same elements as I did (yes, I was on track!), but I don’t completely agree with his thesis regarding its meaning. I think, keeping with the themes of he destruction of the self evidenced in a number of Abe’s work, for example, in Secret Rendezvous and The Ruined Map, I don’t think there’s a way to read the teacher’s capitulation as anything else than a tragic thing. And, Quant discusses a little too intently end elements to films that I haven’t yet seen, but plan on seeing. Still, Quandt has some interesting insights, but as with the teachings of any film professor, they should be taken with a grain of salt. The essay is a good 30 minutes long, but flies by rather quickly.

All in all, an excellent disc for a spectacular film. Criterion’s release is the best Woman in the Dunes has ever looked before. So far, this and Pitfall alone would warrant purchase of the Hiroshi Teshigahara DVD set.

Three Films by Hiroshi Teshigahara hits DVD July 10th, 2007.

About the Author

Chris Nelson has been a film fanatic since age six. A former film and English major, he is now a Software Engineer and contract Technical Writer living in the Silicon Valley.

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