Akio Jissoji

Even though Ubume no Natsu was made in 2006, it has little to no ties to the Asian horror wave that was all the rage back then. This is no 'less is more' horror flick trying to mimic the success of Nakata or Shimizu, instead the film harks back to the classic Japanese horror stories of Edogawa Rampo. Dark, twisted and supernatural, but with a strong psychological core. Ubume no Natsu is an adaptation of the first novel in the Kyougokudou series, a novel that is also enjoying its own manga adaptation right now.

The film is set in the early 50s, following a detective who is called in to investigate the events surrounding a mysterious hospital. Patients, mostly children, keep disappearing on the hospital's premises. When members of the staff are also ending up dead, the neighborhood's imagination starts running rampant. Of course the case isn't so easily solved and several other people are brought in to try and explain the mysterious events.

If you care about a great cast, this film has you covered. An insane amount of familiar faces are featured, from the lead roles down to the smaller, secondary parts. Shin'ichi Tsutsumi and Masatoshi Nagase are probably the most prestigious names, with actors like Hiroshi Abe, Susumu Terajima, Suzuki Matsuo, Rena Tanaka and Yoshiyoshi Arakawa also on board you just know you're in for a treat. It's great to see all of these actors brought together in one film and it's pretty clear they had a lot of fun shooting Ubume no Natsu.

The presentation is top notch too. Even though Jissoji was already quite old when he shot this, the cinematography is quirky and playful. There are some great angles, the editing is fun and even though he uses the same visual tricks a few times too often, the film looks great throughout. The soundtrack is a bit more classic in nature, but goes well with the film. The two combined create a mysterious, dark and intriguing atmosphere, the kind you expect from a tale that could've been written by Rampo.

Don't expect any gore, don't expend a typical Japanese suspense flick. Ubume no Natsu is a film that relies more on intrigue and mystery, with some perversion and psychological horror thrown in for good measure. The presentation is great, the cast is impressive and even though the film is quite long, it never drags or becomes boring. There are better films in the genre, but that's hardly a critique on this film.

When it comes to adapting Rampo stories, it's really about bringing out that lurid, slumbering darkness that hides in people. Jissoji truly is the ideal man for the job. The cinematography looks stylish, the performances are restrained, and the score adds to the atmosphere. A remarkable film from a remarkable director.

The film's pulpy origins are abundantly clear, but Jissoji's excellent direction makes this a real hoot. The camera work is great, the effects are impressive, and the fantastical designs look cool. The pacing is solid too, and even though the story isn't all that demanding, it contains all the ingredients to make this an entertaining spectacle.

This film too went far above my expectations. I'd expected a pinku with some artistic intentions, but describing it like that is doing Prosperities of Vice a big disservice. While the Sade mythology leaves plenty of room for debauchery, Jissôji delivers a very stylish and relatively restrained film.

For a film from the 80s it looks absolutely stunning, sporting superb camera work, neat and colorful styling and excellent use of lighting. The soundtrack too is distinctive and moody. The plot is a bit of a puzzle, but it was intriguing enough to keep me glued to the screen. A very interesting film, Jissôji deserves to be rediscovered.

Jissoji keeps it short and sweet, which is perfect for the simple premise. While the story remains basic, more effort was put into the mood. Thanks to the rather stylish cinematography and the pleasant score, Jissoji hits the right notes. It's not one of his more remarkable films, but an easy recommend for fans of both Jissoji and Rampo.

Surreal imagery, eerie ghostly apparitions and of course clocks (because what good would a Jissoji film be without clocks). Blue Lake Woman has all the ingredients for a lovely film, except that it looks like it was shot on a consumer-grade camera. If you like a good Japanese ghost story though, or you're a dedicated Jissoji fan, this comes well recommended.

The cinematography is splendid, with its odd angles and meticulous color work. The outside scenes aren't quite as striking, but still sport some interesting editing. The plot is a bit hazy, the soundtrack nerve wrecking and the performances are spirited, all adding to the unique experience. Not the easiest film, but worth a watch.

Pinku meets arthouse, with a splash of Japanese New Wave. It's an interesting combination of elements. The stark black and white cinematography is very nice, the pacing of the film slow but deliberate and the intrigue is strong. The soundtrack is a letdown though and some scenes do go on too long. Still, Jissôji left his calling card with this one.

The performances aren't great, the cinematography is pretty functional and the 4:3 ratio is an eyesore. The plot is somewhat interesting though and the wife's descent into depravity, while both the PI and her husband are scamming her, is intriguing enough. I just wish there was a bit more to it.

The setup of the film isn't too bad, but the production feels pretty cheap and none of Jissoji's usual traits manage to shine through. I guess the acting is above average for this type of production, the drama is mildly effective, and it's certainly not as sleazy as some others, but Jissoji is obviously capable of much better.

The monsters look terrible (men in cheap suits, the eyes in particular are just comical), but the maquettes are pretty fun and the pacing makes sure there's no time to slow down and get bored. It's a bit messy if you've never watched the series, then again, it's not all that complex so Kaiju fans won't have any trouble figuring out what's going on. Amusing, but far from great.

The film follows the demise of the Moriyama family, a notable and wealthy house. Ihee, the head of the family, is worried about his legacy, as none of his sons seem worthy to follow in his footsteps. He gets suspicious when Toru (his second son) weasels his way back into their lives and starts asking questions about his family's wealth.

The stark black & white cinematography is interesting, so is the way Jissôji plays with the soundtrack, but the pacing is quite slow and by itself the styling isn't remarkable enough to carry the film. There's definitely beauty here and Jissôji shows he's a talented director, but it's not quite enough to justify the runtime and the pacing.