“I'm not Hassan. I'm his cow.”

Travel mountains on International Mountain Day

 

A starving community has come to the agreement that the elders approaching the age of seventy are to be carried up Narayama mountain to die. The day prior to the mountain's festival, sixty-nine year old Orin prepares to leave, carried by her son Tatsuhei.

“This winter… I'm going to the mountain. My mother went to the mountain, as did the mother-in-law of our home. So I have to go too.”

– Orin

In Keisuke Kinoshita's highly stylised 楢山節考, the arguably cruel (and most likely fictional) practice – of 姥捨て [ubasute, abandoning an old woman] – is superbly abstracted. Narration, dramatic lighting, colour filters and very obviously a soundstage underline that what we're watching is not a film, but a kabuki play.

Play a board game on Play Monopoly Day (USA)

 

It's just a little game. But then you wonder if Ouija, the Wonderful Talking Board is actually just that. Two neat little ladies playing that quirky 1891 novelty game in Roland West's The Bat Whispers summon the aforementioned bat, black-clad fiend and Batman predecessor.

– Get the Ouija board.

– It's got the Bible on top of it, keeping it quiet.

Who is he? What does he want? And how can he be stopped? Do you know the answer?

YES		NO
	GOOD BYE

心中天網島 is based on a 1721 文楽 [#bunraku] puppet theatre play]. As traditional in this style of theatre, the puppeteers are in full view of the audience wearing all-black cloaks. 心中天網島 does the same, but substitutes the puppets with flesh and blood actors.

 

The puppeteers are 黒衣 [kuroko, litt. “black clad”, though there are colour variations depending on the scene's requirements], guiding the performers towards their destiny.

The haunting retelling (beware of spoilers) of #Wagner's The Flying Dutchman.

“Bet you can't eat just one.”

– advertising slogan

Capes, cloaks, and mantles are everywhere in Dieterle and Reinhardt's lavishly outfitted A Midsummer Night's Dream. The dreamlike #CostumeDesign by Max Rée and the uncredited Milo Anderson is as much as a personality as #Shakespeare's characters are.

“Now, until the break of day, Through this house each fairy stray…”

– Oberon, Act 5, Scene 1

Any reports of Kenneth Anger's presence as the Changeling Prince are greatly exaggerated.

A goodnight #kiss on the lips was all it takes for 14-year old Manuela to fall for her teacher, Fräulein Von Bernburg. Then, while celebrating her rousing performance as the male lead in the play Don Carlos, Manuela gaily blurts out that yes, she indeed is in love with her teacher! This lack of discipline can't go unpunished, with devastating results.

“What you call sin, I call the great spirit of love, which takes a thousand forms.”

– Fräulein Von Bernburg

Mädchen in Uniform with its all-female cast was, no… is!, a daring sapphic romantic drama based on a wildly popular play by Christa Winsloe. After multiple well attended screenings the film got banned in Germany because of its anti-authoritarian undertones, and almost banned in the US because of its lesbianism. Thankfully one of the picture's admirers – Eleanor Roosevelt – stepped in, resulting in a limited release.

Japanese author Yukio Mishima was, besides an aesthete, a fierce proponent of Japanese nationalism. In 憂國, based on his short 1960 story, Mishima plays palace guard Lt. Shinji Takeyama. Despite being one of the instigators of an ultra-nationalist coup, Takeyama decides he cannot overthrow the government as it would mean having to kill his friends and be disloyal to the Emperor. Returning home, he and his bride Reiko (Yoshiko Tsuruoka) perform #切腹 (#seppuku / #HaraKiri), as in line with Takeyama's #samurai heritage.

 

Yūkoku is a #SilentFilm that plays out like #Noh #theatre, with an extreme emphasis on the beauty and love of death and loyalty respectively.

 

After Mishima's own seppuku in 1970, his widow ordered all copies of Yūkoku to be destroyed. In 2005, in Mishima's house, a pristine copy was uncovered in a tea box.