As a seasoned gamer with a penchant for immersive narratives, I must confess that “Lust in the Rain” left me feeling like I was playing a complex role-playing game with multiple branches and nonlinear storylines. It’s not every day you encounter a film that dares to be as audacious as this one.
You don’t strictly need to be a fan of Japanese manga artist Yoshiharu Tsuge to enjoy “Lust in the Rain“, a wide-ranging fantasy set during World War II, which was adapted from an autobiographical collection initially published in the 1980s. However, it definitely enhances your experience if you are.
Directed by Shinzo Katayama, this period piece is a daring attempt to capture the dreamlike, erotic atmosphere of Tsuge’s wartime memories, seamlessly blending action, comedy, and eroticism together. However, its wide-ranging tone and style might not appeal to everyone, making it potentially more suitable for local viewers. While the film’s ambitious direction is impressive, some may find its intricate plot twists exhausting rather than engaging.
Prior to directing two films on his own, including the critically acclaimed 2021 serial killer movie, ‘Missing’, Katayama gained experience as an assistant director under Bong Joon-ho. However, while he exhibits akin energy and style to the renowned Korean filmmaker, Katayama’s work lacks the ruthless sharpness and dark humor that characterize Bong’s films.
The film “Lust in the Rain” lasts for approximately two hours, and during its first 80 minutes, events appear confusing and lack clarity. However, it eventually delves into deeper themes around multiple realities over the subsequent hour, leaving us uncertain about what’s genuine or illusory.
Initially, the story presents us with an unusual love triangle involving three characters: Yoshio, an up-and-coming manga artist (played by Ryo Narita in ‘Your Name’), Imori, a seasoned novelist (Go Morita), and Fukuko, a local enigma (Eriko Nakamura from ‘August in Tokyo’). The identity of Fukuko as a potential murderer of her own husband remains uncertain. The tale takes place in an ambiguous time period, set in a secluded town called North Town, which is isolated by border guards from another location known as South Town.
Shy character named Yoshio, who sometimes gives an untrustworthy account of events, is plagued by explicit sexual desires that he converts into comic book illustrations. One such scene, which serves as the basis for the movie’s title, depicts him subtly persuading a young woman to disrobe during heavy rain, followed by a violent act in the mud. (It’s important to note that this violent act later transforms into consensual, passionate sex.)
In everyday life, Yoshio has strong feelings for Fukuko, who moves in with the somewhat questionable Imori into Yoshio’s small apartment. The trio shares intimate moments that intensify the sexual tension among them. It’s unclear if this might lead to one person causing harm to the others, or if they might choose to live harmoniously as a three-person relationship. It could go either way.
The events become increasingly strange yet somehow make sense as well. Without giving away too many details (the most intriguing parts are saved for later), it becomes clear that what we’ve been witnessing is connected to Japan’s occupation of northern China during World War II, including atrocities committed against innocent civilians. In this new light, Yoshio’s fantasies take on a whole new aspect – they seem less like the delusions of a lecherous artist and more like the nightmares of a soldier scarred by endless violence.
Man, I’ve got to be honest, Katayama didn’t quite keep me hooked. It felt like a rollercoaster ride between adolescent yearnings, gruesome violence, and dreamlike eroticism. Take the scene where Yoshio chased the girl from his dreams through dark alleys, only to witness her getting hit by a car. Horrifying, right? He found her lifeless body in a rice paddy, then planned to desecrate it with his own finger. That’s some heavy stuff, man.
Once more, I must emphasize that this is a taste one may acquire, particularly appealing to fans of Tsuge’s unique form of “watakushi manga” – a genre exclusive to Japan, which encompasses literary autobiographies. In these works, the author indulges in unbridled memory, creativity, and his potent libido. Katayama goes above and beyond in adapting Tsuge’s fixations to the screen, using an extravagant style for war sequences and a smooth, personal touch to portray all sexual scenes, whether actual or imagined.
The central love story in “Lust in the Rain” is powerfully portrayed by Narita and Nakamura, convincingly depicting two disconnected souls. However, the film’s foundation feels unsteady, making it hard to fully invest in their relationship. If you can’t believe in what’s happening on screen, then why should you feel emotionally involved? In its latter parts, “Lust in the Rain” transforms into a distorted version of “The English Patient,” where love and war intersect bizarrely. Nevertheless, the emotional intensity never reaches a level that makes the outcome seem significant.
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2024-10-30 04:24