The Song of the Wanderer

This film (drama)Also known asツィゴイネルワイゼン，is aJapanProducerwomen sex，At1980Released in year 。The dialogue language isJapanese，Current Douban rating7.7(For reference only)。

The Japanese title of this film is the name of a record performed by Spanish musician Sarasate in 1904. The original work is based on the novel "Sarasate's Record" by the protagonist of Akira Kurosawa's last work "Dying Sun," the essayist Hyakuzō Kurata. This record and its music appear in the home of the protagonist Aoi Toyōjiro, played by a loose woman. Aoi is a German teacher at a military academy, portrayed by the middle-aged director Fujita Tomohachi, who is robustly built and resembles a Russian. The prodigal son Nakazumi, played by Harada Yoshio, is an acquaintance of Aoi, but he is cynical and seems to have no seriousness, only interested in chasing women, and only women can excite him. The two meet a geisha named Ko-Oka in a hotel; it seems she has feelings for Aoi, and he likes her too, but for some reason, he refuses to get close to her, resulting in Nakazumi brazenly winning her over. Both Aoi and Nakazumi are married, and when Aoi visits, he is startled to discover that Nakazumi's wife Sonoko looks exactly like the geisha Ko-Oka, both played by Ohtani Yoshiko. Sonoko also falls in love with Aoi, but he still refuses to get close to her, leading to her dying in despair after giving birth to a child. Soon after, Ko-Oka takes her place as Nakazumi's wife. Nakazumi has a warm home but is not satisfied and seeks to wander. Aoi's wife's sister tells Aoi in the hospital that she saw her sister being affectionate with Nakazumi. Nakazumi wanders away from home, buried under the sand beneath the cherry blossoms, with only his head showing, dead, while nearby is the singing of two young blind children, a boy and a girl. After his comeback, this film by Shōhei Imamura fully utilizes the old crew, and it is difficult to convey in words; the film is a dream created through stunning imagery, filled with Shōhei's illusions and reverence for death, such as Nakazumi dying under the cherry blossoms, buried in sand, and the blind artists singing and begging, with love rivals dueling and knocking each other into the sandy beach with bamboo sticks, while a woman plays the pipa sitting on a wooden tub, swallowed by the sea, carrying a profoundly intoxicating emotion; rich in symbolic wonders, fears, passions, and many seductive smiles, but it is hard for viewers to discern a path or meaning from it, forcing them to appreciate the aesthetics and textures enriched by colors, fabrics, settings, and props, such as the exterior of the white Western-style house and patterned wallpaper inside Aoi's home, along with the blue bamboo mat at Nakazumi's house, always filled with the steam of a Japanese hot pot, all rich in the characteristics of the Taisho era from the 1910s to the 20s. This firmly captures the audience's attention with outstanding formal beauty, which is the goal of Shōhei's "Romantic Trilogy."