The Ballad of Narayama
Brief Synopsis
Life in a small, impoverished village where custom holds that an individual, upon reaching the age of 70, must be abandoned on the top of Mount Narayama.
Cast & Crew
Read More
Shohei Imamura
Director
Ken Ogata
Sumiko Sakamoto
Tonpei Hidari
Norihei Miki
Keishi Takamine
Film Details
Also Known As
Ballad of Narayama, La Ballade de Narayama, Narayama-bushi-ko, ballade de Narayama
Genre
Drama
Foreign
Release Date
1984
Location
Japan
Technical Specs
Duration
2h 10m
Synopsis
Life in a small, impoverished village where custom holds that an individual, upon reaching the age of 70, must be abandoned on the top of Mount Narayama.
Director
Shohei Imamura
Director
Cast
Ken Ogata
Sumiko Sakamoto
Tonpei Hidari
Norihei Miki
Keishi Takamine
Shoichi Ozawa
Hideo Hasegawa
Ryutaro Tatsumi
Sayuka Nakamaru
Kosei Sato
Masami Okamoto
Kaoru Shimamori
Nenji Kobayashi
Kan Eto
Mitsuaki Fukamizu
Fusako Iwasaki
Azumi Tanba
Mitsuko Baisho
Toshio Tsuneda
Taiji Tonoyama
Kenji Murase
Tsutomu Hiura
Akio Yokoyama
Nijiko Kiyokawa
Seiji Kurasaki
Junko Takada
Yukie Shimura
Takejo Aki
Crew
Kanji Aoi
Production Manager
Yoshiichi Beniya
Sound
Shichiro Fukasawa
Source Material (From Novel)
Seiko Igawa
Makeup
Shin'ichiro Ikebe
Music
Shohei Imamura
Screenplay
Toshio Inagaki
Art Director
Kyoto Isho
Costumes
Yasuo Iwaki
Lighting
Shinji Komiya
Production Associate
Goro Kusakabe
Producer
Hitoshi Machida
Song
Hajime Okayasu
Editor
Sumiko Sakamoto
Song Performer
Hideo Suzuki
Titles
Uichiro Takeda
Animal Trainer
Kunio Takeshige
Assistant Director
Masao Tochizawa
Director Of Photography
Jiro Tomoda
Producer
Itaka Yoshino
Assistant Art Director
Film Details
Also Known As
Ballad of Narayama, La Ballade de Narayama, Narayama-bushi-ko, ballade de Narayama
Genre
Drama
Foreign
Release Date
1984
Location
Japan
Technical Specs
Duration
2h 10m
Articles
The Ballad of Narayama - Shohei Imamura's 1983 Feature THE BALLAD OF NARAYAMA on DVD
Tatsuhei's (Ken Ogata) tiny mountaintop community endures constant hardship. With never enough food to go around, their traditions have adapted in several very uncivilized ways. Unwanted baby boys are often killed at birth, while baby girls are kept because they can be sold, presumably into lives of prostitution. Firstborn sons are the only males with rights. The others are prohibited from marrying, and allowed to stay only if they work. Neighbors accuse one another of thievery, and most keep hidden hoards of foodstuffs, often stolen. Most barbaric of all, when the elders reach the age of 70, they're required to go to the slopes of Narayama Mountain to die. That time has come for Tatsuhei's mother Orin (Sumiko Sakamoto). She is in fine shape and still productive, but believes firmly in the law.
The Ballad of Narayama is a rumination about life and nature that reminds us how close we are to our primitive roots. The frightened mountain farmers might as well be prehistoric cavemen living in an early agrarian tribe. Older Western movies celebrate backwoods living as a pure state in which hardy God-fearing folk forge a livelihood out of the wilderness; even hillbillies have Daniel Boone to look up to. But without a frontier or a hope for a future, social forms tend to break down quickly.
Narayama's farming town is a closed system unable to feed the all of the workers needed to keep it going. Something has to give. The little clans fall back on ritual superstitions and momentary, selfish pleasures. The movie is series of shocking and depressing vignettes. A dead infant found in a rice paddy only starts an argument over "baby dumping rights." Relatives executed for thievery are simply not mentioned any more. Tatshuhei's no-good father simply disappeared years ago; the family thinks he's become a ghost wandering the hills.
Even more appalling is the village's large population of frustrated "second sons", ragged young men forbidden to marry. Tatsuhei's brother is a nearly feral lout known for his foul smell, and for his habit of having sex with the neighbor's dog. Tatshuei beats him but nothing seems to do any good. From the attitudes of the brother's equally dispossessed peers, his degeneracy isn't atypical.
The local customs about sex are baffling. Plenty of forbidden coupling goes on in the woods between lonely young women and men; any offspring are murdered or sold. Imamura stresses the base savagery of it all by inter-cutting this grubby sex with graphic shots of various animals copulating and eating one another.
Even more disturbing is the primitive response to lawbreaking. When one household is discovered to be systematically stealing food, the neighborhood bands together, attacks the house and buries the entire family alive. A daughter of the thieves living with Tatsuhei's family is tricked into going home just before the raid, and perishes with her kin. When it's all over the neighbors split what they can recover from the murdered family's house, and never mention them again.
Imamura's film has some humor -- the farmers are completely comfortable with their ugly rituals -- but the tone becomes more spiritual and poignant in the final act. Over Tatsuhei objections, his mother Orin chooses to accept her fated death on the mountain before the appointed time. She passes on her private knowledge to other family members and then goes through the ceremonial preparations. Tatsuhei obediently carries her up the mountain trails to a forbidden holy site, the place of death.
Along the way Tatsuhei sees another man disposing of his father. The old man is bound in a net because he doesn't want to die, forcing his son to abandon custom for a more direct method of fulfilling the ritual. Tatsuhei's mother simply tells him to put her down and leave, and they share an emotionally shattering embrace as snow begins to fall. The horrible abandonment/suicide of Orin suddenly seems little removed from our own culture's faulty way of dealing with death and dying. The Ballad of Narayama concludes with a universal message and an emotional sting.
The Ballad of Narayama is another statement of Shohei Imamura's disenchantment with humanity, but it also recognizes the positive potential in people. This makes it ultimately more memorable than the pessimistic Vengeance is Mine. Ken Ogata also plays the hateful killer in that film, which makes his caring Tatshuei character here seem all the more human.
Tatsuhei seems a fair man in general but his mother Orin is the film's center. Orin tries to make a new wife welcome in the home, and always acts unselfishly. A widow is known to be bedding various unmarried men, and when the somewhat revolting second son is denied access, the mother humbles herself to find another woman willing to take him to her bed. In one traumatic scene Orin purposely smashes her front teeth. For the rest of the film she grins with a shattered smile. We hope that actress Sumiko Sakamoto faked her appearance by removing a denture; some online sources say that she had her teeth surgically removed for the role. If that's true, it certainly trumps Robert De Niro's "extreme acting" weight gain for Raging Bull.
AnimEigo takes a break from its line of Japanese action and anime to present The Ballad of Narayama, a modern classic. The enhanced transfer has subdued colors and excellent sound. As is the AnimEigo custom, the precise English subtitles are embellished with explanatory notes for unfamiliar terms and phrases. This makes every detail of Imamura's film accessible to non-Japanese speakers.
The extras are a quartet of theatrical trailers and teasers, an image gallery and the expected bundle of informative text notes. A packaging disclaimer warns of the film's violence, nudity and sexual situations.
For more information about The Ballad of Narayama, visit AnimEigo.To order The Ballad of Narayama, go to TCM Shopping.
by Glenn Erickson
The Ballad of Narayama - Shohei Imamura's 1983 Feature THE BALLAD OF NARAYAMA on DVD
Films by the Japanese director Shohei Imamura have one thing in common -- they're
as provocative as a slap in the face. Imamura's Vengeance is Mine (1979)
is a cold look at a serial killer, and his Black Rain (1988) studies the
cruel social prejudice against innocent Hiroshima bombing victims. One of
Imamura's most celebrated films is the Cannes Palm d'Or winner The Ballad of
Narayama, a tale of life in a remote mountain hamlet sometime in the 19th
century. Living in constant fear of starvation, the farmers abide by a brutal
social code. Imamura doesn't flinch at depicting its unpleasant details. Keisuke
Kinoshita directed an earlier, more stylized version of the same story in 1958.
Tatsuhei's (Ken Ogata) tiny mountaintop community endures constant hardship. With
never enough food to go around, their traditions have adapted in several very
uncivilized ways. Unwanted baby boys are often killed at birth, while baby girls
are kept because they can be sold, presumably into lives of prostitution.
Firstborn sons are the only males with rights. The others are prohibited from
marrying, and allowed to stay only if they work. Neighbors accuse one another of
thievery, and most keep hidden hoards of foodstuffs, often stolen. Most barbaric
of all, when the elders reach the age of 70, they're required to go to the slopes
of Narayama Mountain to die. That time has come for Tatsuhei's mother Orin
(Sumiko Sakamoto). She is in fine shape and still productive, but believes firmly
in the law.
The Ballad of Narayama is a rumination about life and nature that reminds
us how close we are to our primitive roots. The frightened mountain farmers might
as well be prehistoric cavemen living in an early agrarian tribe. Older Western
movies celebrate backwoods living as a pure state in which hardy God-fearing folk
forge a livelihood out of the wilderness; even hillbillies have Daniel Boone to
look up to. But without a frontier or a hope for a future, social forms tend to
break down quickly.
Narayama's farming town is a closed system unable to feed the all of the
workers needed to keep it going. Something has to give. The little clans fall
back on ritual superstitions and momentary, selfish pleasures. The movie is
series of shocking and depressing vignettes. A dead infant found in a rice paddy
only starts an argument over "baby dumping rights." Relatives executed for
thievery are simply not mentioned any more. Tatshuhei's no-good father simply
disappeared years ago; the family thinks he's become a ghost wandering the
hills.
Even more appalling is the village's large population of frustrated "second
sons", ragged young men forbidden to marry. Tatsuhei's brother is a nearly feral
lout known for his foul smell, and for his habit of having sex with the
neighbor's dog. Tatshuei beats him but nothing seems to do any good. From the
attitudes of the brother's equally dispossessed peers, his degeneracy isn't
atypical.
The local customs about sex are baffling. Plenty of forbidden coupling goes on in
the woods between lonely young women and men; any offspring are murdered or sold.
Imamura stresses the base savagery of it all by inter-cutting this grubby sex
with graphic shots of various animals copulating and eating one another.
Even more disturbing is the primitive response to lawbreaking. When one household
is discovered to be systematically stealing food, the neighborhood bands
together, attacks the house and buries the entire family alive. A daughter of the
thieves living with Tatsuhei's family is tricked into going home just before the
raid, and perishes with her kin. When it's all over the neighbors split what they
can recover from the murdered family's house, and never mention them
again.
Imamura's film has some humor -- the farmers are completely comfortable with
their ugly rituals -- but the tone becomes more spiritual and poignant in the
final act. Over Tatsuhei objections, his mother Orin chooses to accept her fated
death on the mountain before the appointed time. She passes on her private
knowledge to other family members and then goes through the ceremonial
preparations. Tatsuhei obediently carries her up the mountain trails to a
forbidden holy site, the place of death.
Along the way Tatsuhei sees another man disposing of his father. The old man is
bound in a net because he doesn't want to die, forcing his son to abandon custom
for a more direct method of fulfilling the ritual. Tatsuhei's mother simply tells
him to put her down and leave, and they share an emotionally shattering embrace
as snow begins to fall. The horrible abandonment/suicide of Orin suddenly seems
little removed from our own culture's faulty way of dealing with death and dying.
The Ballad of Narayama concludes with a universal message and an emotional
sting.
The Ballad of Narayama is another statement of Shohei Imamura's
disenchantment with humanity, but it also recognizes the positive potential in
people. This makes it ultimately more memorable than the pessimistic Vengeance
is Mine. Ken Ogata also plays the hateful killer in that film, which makes
his caring Tatshuei character here seem all the more human.
Tatsuhei seems a fair man in general but his mother Orin is the film's center.
Orin tries to make a new wife welcome in the home, and always acts unselfishly. A
widow is known to be bedding various unmarried men, and when the somewhat
revolting second son is denied access, the mother humbles herself to find another
woman willing to take him to her bed. In one traumatic scene Orin purposely
smashes her front teeth. For the rest of the film she grins with a shattered
smile. We hope that actress Sumiko Sakamoto faked her appearance by removing a
denture; some online sources say that she had her teeth surgically removed for
the role. If that's true, it certainly trumps Robert De Niro's "extreme acting"
weight gain for Raging Bull.
AnimEigo takes a break from its line of Japanese action and anime to present
The Ballad of Narayama, a modern classic. The enhanced transfer has
subdued colors and excellent sound. As is the AnimEigo custom, the precise
English subtitles are embellished with explanatory notes for unfamiliar terms and
phrases. This makes every detail of Imamura's film accessible to non-Japanese
speakers.
The extras are a quartet of theatrical trailers and teasers, an image gallery and
the expected bundle of informative text notes. A packaging disclaimer warns of
the film's violence, nudity and sexual situations.
For more information about The Ballad of Narayama, visit AnimEigo.To order The Ballad of
Narayama, go to
TCM Shopping.
by Glenn Erickson
Quotes
Trivia
Miscellaneous Notes
Released in United States Summer August 1984
Released in United States Summer August 1984