A samurai plots to reclaim his estranged wife after she leaves him over a murder scandal. When her sister falls victim to a scheme, he and his friend manipulate events, but their plans lead to supernatural vengeance.
Writer/director Tai Kato’s film “The Tale of Oiwa’s Ghost” is a re-telling of the popular Japanese ghost story, “Ghost Story of Yotsuya.” Tomisaburo Wakayama stars as Iemon (that is a capital I, not a lowercase L) Tamiya — a despicable excuse of a samurai — who is already estranged from his wife, Oiwa (Yoshiko Fujishiro), as the film begins. His father-in-law sees him as a sorry excuse for a husband and son-in-law and refuses to help Iemon reconcile with Oiwa.
A lot happens in the opening minutes of this film, with numerous characters to keep track of and multiple plot elements. While he is ashamed of Iemon, his father-in-law decides to sell his younger daughter, Osode (Hiroko Sakuramachi), into indentured servitude. The man he sells her to is really running a brothel, causing problems for Osode (obviously) and her fiancé. Meanwhile, the daughter, Oume (Yumiko Mihara), of a wealthy family falls in love with Iemon, initiating a series of events that lead to Oiwa’s disfigurement and death. Unfortunately for all involved with the scheme, her ghost returns to haunt Iemon on his wedding night to Oume.
My attempt to condense the plot for this review may be a little confusing (and perhaps more revealing than necessary). Long story short, this is a complicated drama more than it is a ghost story. The ghost (or is it just Iemon’s guilty conscience) doesn’t show up until the movie’s final act, and the supernatural mayhem doesn’t amount to much.
Where this movie really shines is in the performances from the cast and the direction of Tai Kato. “The Tale of Oiwa’s Ghost” is a bit convoluted, with a few too many characters to keep track of on an initial watch. However, it is compellingly told and stylishly photographed, keeping the viewer’s eyes glued to the screen. For fans of J-horror, this story bears similarities to the “Ju-On” films — maybe it served as an inspiration for those?
Radiance Films releases this limited-edition Blu-ray™. As usual with their limited editions, the set includes a booklet (including an essay by Tom Mes), an obi slip, and reversible artwork. On disc, there is the option to view the feature directly or start it with an introduction by Mari Asato. I chose to view with the introduction, which gives some groundwork for the story and its connections to other Japanese literature. It’s a brief feature and well worth your time.
As for the movie itself, the transfer is from a high-definition digital file supplied by Toei. I was pleased with how the film looked and sounded. Compression looked good with no apparent anomalies present. The sound was clear.
Additional features on the disc include an interview with Mari Asato and a visual essay by Lindsay Nelson. Asato’s interview is an engaging watch; however, the visual essay is, to say the least, odd. Tom Mes’s essay distills a lot of information about Japanese film history. It’s interesting, though heavy on the name and term dropping for those unfamiliar with them.
This is another stellar disc from Radiance Films. I continue to look forward to what they will release with their monthly announcements. Here’s hoping there’s more Kato waiting for us soon.
Now available on a Limited Edition Blu-ray™ from RADIANCE FILMS
