The Ghost of Yotsuya

1959

Horror

94
IMDb Rating 7 10 941

Synopsis


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September 11, 2020

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720p.BLU 1080p.BLU
704.47 MB
1280*720
Japanese 2.0
NR
23.976 fps
76 min
P/S N/A / N/A
1.28 GB
1920×1080
Japanese 2.0
NR
23.976 fps
76 min
P/S N/A / N/A

Movie Reviews

Reviewed by Platypuschow 5 / 10 / 10

Tôkaidô Yotsuya kaidan: Passable adaptation

The Ghost of Yotsuya is yet another adaptation of the timeless Japanese ghost story Yotsuya Kaidan. The trouble is there are so immensely many movies telling exactly the same story with few deviations from the source material. Sadly truth be told I don't like the story, other than being overplayed it's just not all that interesting and I think Japan has considerably better ghost stories than this. For those unaware it tells the story of a samurai who poisons his wife to further his deviant plans. She however returns from the grave and haunts him, gradually chipping away at his psyche until he's a broken wreck of a man. Despite my average rating I think this is the best adaptation made replacing Illusion of Blood (1965). It plays out the horror well, the lead does his role competently and it all flows better than most (Partially due to the suitable running time). For anyone who hasn't seen Yotsuya Kaidan on screen before I'd recommend this one. If however you have then perhaps skip this and the others as they are near carbon copies of one another. The Good: Manages the horror element well Competent lead The Bad: Same old story

Reviewed by DICK STEEL 10 / 10 / 10

A Nutshell Review: The Ghost Story of Yotsuya

Touted to be one of the most famous traditional Japanese ghost stories set in the Edo era, there's a certain staged feeling in the way the film got presented, probably because of its Kabuki roots, expanded to include some on location outdoor shoots. Otherwise the story could conveniently unfold on stage for all and sundry, given the limited number of characters involved in a pretty straightforward narrative. In fact, amongst all the films screened during this year's festival, this is the most conventional of the lot. The main protagonist of the film is an anti-hero with enough reasons for anyone to dislike him from the onset. Iemon Tamiya (Shigeru Amachi) opens the film as a murderer, killing just because he got faced with a "No" answer to his desire of marrying Oiwa (Kazuko Wakasugi), and then cooks up an elaborate story just to gain her trust, which involves more murder and the pining of the blame to a criminal on the loose. An ambitious man, he continues looking for a way to better his life and status as a lowly samurai, and sees the quickest way is to marry into a rich family by asking for the hand of Oume (Junko Ikeuchi) in marriage. The complication here is of course his wife whom we had seen him go to great lengths to well, win her over, and the only way to gain a shortcut to the higher class, is to bump her off through an accusation of adultery that he sets up with Takuetsu (Jun Otomo). Directed by Nobuo Nakagawa, the film runs under 80 minutes, and the hauntings well placed only toward the last act where they come quite fast and furious. The bulk of the film gets stuck in setting up how repulsive Iemon is as a person, who will stop at nothing in order to fulfill his desires, never for once hesitating that his grand plan is nothing short of immoral. Being a significant role later, time is also devoted to how virtuous Oiwa is as a wife, bringing to life the mantra of for better or worse, and believing that one day her husband would make it good. Little does she know of course that she doesn't figure in his future plans at all. Much of the horror comes from Iemon's guilt consciousness in constantly seeing visions of his disfigured wife and friend whom he had sent in the act of seduction. Stylistically the appearance of ghostly apparitions are done in old school fashion with plenty of make-up and lighting effects at play, especially since this is a revenge flick where the guilty gets punished because the spirits come back to settle their unfinished business, being wrongly accused and punished. Iemon is quite the fine swordsman that he is, and his swiftness with the sword would prove to be his downfall as he hacks and slashes at his ghostly visions. Naturally the fun comes in the haunting of Iemon, but amongst the artistic presentation of the other films in this year's festival, The Ghost of Yotsuya stood out for its simplicity, and turned out to be very much enjoyable.

Reviewed by indianmansteamer 10 / 10 / 10

a Pearl in the Crown of Japanese Slasher Flickage

Iemon Tamiya ( Shigeru Amachi, the hero of Jigoku ) is a samouraï without Master ( ronin ) who wishes to marry Iwa, the girl of the Samon lord. One evening, it waits on the property of Samon that this one returns to him, in order to ask him last once the hand of his daughter, but Samon wants nothing to know, and milked Iemon of libertine, doubled of an imbecile. Iemon perhaps, which does not have a row but does not remain about it less one man of honour, carries out Samon and its continuation at once, under the amused glance of its servant, Naosuke, which sees an occasion there to increase its capacity on its Master. The two men decide to make wear the hat in Usaburo, a samouraï of which any Okayama knows hatred towards the late one. Yomoshichi, whose father belonged to the guard of Samon, decides to avenge the death for his/her own father, but also for that which was on the point of becoming his/her father-in-law: indeed, it had obtained the hand of Sode, the sister of Iwa. The two couples in becoming get under way in order to avenge death for Samon, accompanied by Naosuke. Six months later, Naosuke, in love with Sode, decides to make sing Iemon so that it helps it to get rid of Yomoshichi - death that the two men put again on the back of Usaburo. Naosuke and Sode leave to the continuation the "culprit" while Iemon and Iwa, patient, settle in Edo. Two years pass, and the two sisters, from now on separated, still did not satisfy their thirst for revenge: Usaburo always runs. Iemon, married to Iwa, claims more not to have re-examined Naosuke whereas the two men find together means of tapping money with the Ito old man to remain, each one on their side. Iemon sees in EMU, the girl of this last, the possibility of obtaining a honourable position, and it is put consequently at the head to marry it. But for that, it must get rid of Iwa, become cumbersome - as well as faithful Naosuke suggests to him... Tokaido-Yotsuyakaidan takes again a traditional history of phantoms to the Nakagawa sauce. One finds at the same time elements of Jigoku there , that the realizer would turn one year later, and of Borei-Kaibyoyashiki , filmed one year before. The three films put in scene a murder more or less reflected, made under an access of anger, which involves others of them before taking along the heroes to know the revenge on In addition to world. But the similarities do not stop with the topic. The character of Naosuke precedes that of Tamura in Jigoku , character of background which encourages the hero to make ignominies more and more. The end of the film, during which one rocks in pure film of horror, mixes the hallucinations of the assassin of Borei... and visual hallucinated hell of Jigoku . Moreover, Tokaido... is also a film rather gore for the time: that it is with the make-up of Iwa, properly horrible, or the torn off arm of Takuetsu, friend of Iemon victim of one of his machinations, Nakagawa never underestimates the impact of visual truly bloody. But principal qualities of Tokaido... are of a visual nature: the realization is once more impeccable, modern for the time in its use of the framework and the out-field ( the scene where Iwa discovers the decomposition of its face in is an excellent example ), and contributes to make mount the trouillometer in a very convincing way for such an old film. The appearances of Iwa, nailed on the board on which it was drowned, show again some many modern "monsters". As for the last image of film, it returns as much to Jigoku as at the end of beyond Fulci ( very adequate comparison definitely for the study of the case Nakagawa ), with its ghostly figure within a monochromatic landscape which one guesses without difficulty infernal. A remarkable film of horror, which more is easily accessible to any fan from cinema from terror ( what is not inevitably the case of all films of the realizer ).

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