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Double Suicide

    Drama
    Romance
70%tmdb logo
•
May 24, 1969
Rating Unavailable

Successful and married with children, paper-mill owner Jihei knows better than to contradict the strict social and moral codes of 18th-century Japan. But when he meets the lovely courtesan Koharu, he becomes a man obsessed. Koharu returns his love, even foregoing other customers while Jihei schemes to somehow buy her freedom. His efforts yield ruinous consequences for his business and his family life, and Koharu is meanwhile purchased by another client.

Details

  • Directors
  • Vote Average
    7.0
  • Vote Count
    50
  • Popularity
    4
  • Language
    日本語
  • Origin Country
    JP

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    • Cast

    Background image 1
    Kichiemon Nakamura II
    Jihei
    Background image 2
    Shima Iwashita
    Koharu and Osan
    Background image 3
    Hōsei Komatsu
    Tahei
    Background image 4
    Yûsuke Takita
    Mogoemon
    Background image 5
    Kamatari Fujiwara
    Owner of the Yamatoya
    Background image 6
    Yoshi Katō
    Gosaemon
    Background image 7
    Shizue Kawarazaki
    Osan's Mother
    Background image 8
    Tokie Hidari
    Osugi
    Background image 9
    Sumiko Hidaka
    Proprietress
    Background image 10
    Takashi Sue
    Store Owner
    Background image 11
    Masashi Makita
    Guest
    Background image 12
    Makoto Akatsuka
    Sangoro
    Background image 13
    Unko Uehara
    Otama
    Background image 14
    Shinji Tsuchiya
    Kantaro
    Background image 15
    Kaori Tozawa
    Osue
    Background image 16
    Jun Hamamura
    Background image 17
    Masatsugu Makita

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    Reviews

    (1)
    talisencrw
    90%
    Even though I'm Christian and have always been brought up considering the act of suicide a 'taboo' subject, I have always held great respect for both the Japanese way of doing so to save face, and the thoroughly romantic notion, say, from the likes of 'Romeo and Juliet' (with Shakespeare's writings being probably the cornerstone of Western thought)--so from two completely different cultural perspectives--that a life without the one you love is not worth living. I had previously only seen two of Masahiro Shinoda's other works for The Criterion Collection--the earlier works 'Pale Flower' and 'Samurai Spy', and I don't know if it was on purpose by the company in selecting the titles, but I marveled at the breathtaking variety of his scripts, all from such a short timespan (1964-69). Being a patron of the theatre (in many different modes) and as anthropologically cosmopolitan in my approach to life as is conceivable, I salute Shinoda with a profound respect, and look forward to investigating as many of his other works as possible.