I think you may be on to something. Lady Kino loses her vitality when she moves from the House of the East to the House of the West, failing to ever return (rise) again. Thus leaving her poor brother stalled in the east.
YOU KNOW ?, I REALLY ENJOY HEARING YOUR THOUGHTS ON THE FILM. VERY STIMULATING; & I FOUND MYSELF WATCHING IT OVER AGAIN HERE (ON UA-cam !, ALTHOUGH I HAVE THIS IN MY OWN COLLECTION AT HOME !). WATCHING IT WITH A BETTER UNDERSTANDING; IT WAS ALMOST LIKE WATCHING IT ANEW. THANK YOU.
Thank you for the upload. I've searched for it ever since a friend told me about it. Though it goes considerably astray from the text, it is a wonderful interpretation. Mysterious and atmospheric. The mirror is important in Shintoism, if I recall correctly, and in the early scenes Kinu uses her father's gift to both attract Onimaru and reflect light into darkness. I also loved the precise movements of the actors, the austere but beautiful setting and the lovely traditional costumes.
THANK YOU FOR SUCH A GREAT INFORMATIVE REVIEW. IF THE MIRROR WAS TO BE SYMBOLIC (IN THE MOVIE) OF AMATERASU (GODDESS OF THE SUN/LIGHT) I'M NOT SURE, BUT IT BEING IMPORTANT IN SHINTOISM YES. MAYBE THOUGH !; SYMBOLIC THAT KINU (LIGHT) & ONIMARU (DARK) BOTH BROTHER & SISTER (STEP THAT IS), AS AMATERASU (GODDESS OF LIGHT/SUN) & TSUKUYOMI (GOD OF THE MOON/NIGHT) IS BROTHER & SISTER. I HAVEN'T THOUGHT ABOUT THIS & NEVER NOTICED IT REALLY SINCE YOU MENTIONED IT.
In my original comment, I was thinking of the archetypes of Carl Jung. Onimaru seemed to me to be either an incarnation of, or carrier of Kino's very powerful animus (spirit), an elemental being who after much abuse in our material world becomes wrathful. When she teases him with the mirror, she entices him from the edge of his dark, eternal world (the collective unconscious) into ours. That is why, when Onimaru runs away, she says he can never be far from where she is for is her.
Brilliant take. And this is where the movie goes back to its source. Frye poses WH as a major example of romance, and Jung's archetypes at the heart of romance.
Where is part one?
I think you may be on to something. Lady Kino loses her vitality when she moves from the House of the East to the House of the West, failing to ever return (rise) again. Thus leaving her poor brother stalled in the east.
YOU KNOW ?, I REALLY ENJOY HEARING YOUR THOUGHTS ON THE FILM. VERY STIMULATING; & I FOUND MYSELF WATCHING IT OVER AGAIN HERE (ON UA-cam !, ALTHOUGH I HAVE THIS IN MY OWN COLLECTION AT HOME !). WATCHING IT WITH A BETTER UNDERSTANDING; IT WAS ALMOST LIKE WATCHING IT ANEW. THANK YOU.
Hello, where could I find part one please?
Thank you for the upload. I've searched for it ever since a friend told me about it. Though it goes considerably astray from the text, it is a wonderful interpretation. Mysterious and atmospheric. The mirror is important in Shintoism, if I recall correctly, and in the early scenes Kinu uses her father's gift to both attract Onimaru and reflect light into darkness. I also loved the precise movements of the actors, the austere but beautiful setting and the lovely traditional costumes.
THANK YOU FOR SUCH A GREAT INFORMATIVE REVIEW. IF THE MIRROR WAS TO BE SYMBOLIC (IN THE MOVIE) OF AMATERASU (GODDESS OF THE SUN/LIGHT) I'M NOT SURE, BUT IT BEING IMPORTANT IN SHINTOISM YES. MAYBE THOUGH !; SYMBOLIC THAT KINU (LIGHT) & ONIMARU (DARK) BOTH BROTHER & SISTER (STEP THAT IS), AS AMATERASU (GODDESS OF LIGHT/SUN) & TSUKUYOMI (GOD OF THE MOON/NIGHT) IS BROTHER & SISTER. I HAVEN'T THOUGHT ABOUT THIS & NEVER NOTICED IT REALLY SINCE YOU MENTIONED IT.
In my original comment, I was thinking of the archetypes of Carl Jung. Onimaru seemed to me to be either an incarnation of, or carrier of Kino's very powerful animus (spirit), an elemental being who after much abuse in our material world becomes wrathful. When she teases him with the mirror, she entices him from the edge of his dark, eternal world (the collective unconscious) into ours. That is why, when Onimaru runs away, she says he can never be far from where she is for is her.
Brilliant take. And this is where the movie goes back to its source. Frye poses WH as a major example of romance, and Jung's archetypes at the heart of romance.
One can only imagine what Emily Brontë would think if she saw this!
Very remarkable . Beautiful and intense, I think any fan of Bronte's book would enjoy it .
This version is quite interesting.. and Yusaku Matsuda's acting is superb for the part....to think he had cancer when this one was done also.....
Name ?
Do you have the first part of the movie? I haven't been able to find it anywhere.
If you haven't find anything, let me know and I send you a link for this one
@@TenguXx where
@@micheltessier1114 please link me
@@TomboiTopUwU Sent in your discussion box, it get blocked here.
@@micheltessier1114 hi, please send the link also, thankyou