It may be too early to say this, because just 24 hours have passed since I saw Yabu no naka Kuroneko no, but I venture to say that most likely this is the best horror movie I've seen in my increasingly short life. Few films manage to unravel the essence of horror and show the public no tricks, no gimmicks cheap camera and no sound brutal blows, leaving him naked in front of the screen so that the eyes of the audience into something truly recreate horrifying. Kuroneko not only do that in an exemplary manner, but also dares to make a beautiful love story and so unhappy that seems to have been extracted from the mind of Sophocles.
Kaneto Shindo, the prolific Japanese director author of the classic Onibaba is the command responsible for writing and performing this work of art that tells the unfortunate story of two women who are raped by an entire regiment samurai warriors who meet by chance on returning home from a battle. The two murdered women, united by the bond of mother and daughter, made a deal with the dark spirits, enabling them to establish as evil spirits on earth in order that they can take revenge by killing all the samurai who pass through the region.
The story is told through a fantastic series of sequences designed by Shindo in collaboration with his director of photography Kiyomi Kuroda, in which a pervasive eroticism, deployed with amazing delicacy, is the motivation and destruction of cluster unfortunate characters who populate the area around the bamboo forest, where two women give vent to his misanthropy.
I can not describe the extraordinary level of performance displayed in Kuroneko , whose cast has Otowa Nobuko, one of the greatest actresses that has given Japan the role of the mother who longs for reunion with her lost son in combat, which gives life Kichiemon Nakamura, an actor who when taken to extreme is able to deploy a scene worthy of a complete animal and moments later become the most sensitive of lovers.
Koruda, who was also the director of photography Onibaba , reveals itself as a true master of the picture, who knows the angles and perspectives necessary to impact the audience, which enjoys the brink seat during the whole film to finally give particularly in the macabre film's conclusion, which is saved as one of the best sequences in film history.
Strongly influenced by kabuki theater , from which he derives much of its aesthetic and narrative inspiration, Kuroneko was part of the official selection at Cannes 1968, which was not carried out by the popular social upheaval that France lived under the rule of Charles de Gaulle, but the film generated a strong cult gradually despite its poor international distribution.
Review in my head over and over again some intense sequences I'm surprised the film and the relative anonymity of this jewel extraordinary Japanese film. It would be an unforgivable sin if ever find a copy of this movie let pass by.
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