Genji Monogatari – Die Geschichte von Prinz Genji (1987)

Genji Monogatari – Die Geschichte von Prinz Genji: Directed by Gisaburô Sugii. With Morio Kazama, Miwako Kaji, Reiko Tajima, Jun Fubuki. An animated film based on the novel by Murasaki Shikibu, written over 1000 years ago. Genji, the son of the emperor, is the talk of the Kyoto nobility for his charm and good looks, yet he cannot stop himself from pursuing an unobtainable object of desire: his father’s young and beautiful bride. Following the tragic consequences of his obsession, Genji wanders from one affair to another, always seeking some sort of completion to his life.

“Iu0026#39;d looked forward to seeing this film ever since I heard it was coming to Sydney as part of a Japanese animation festival. Iu0026#39;m not particularly interested in animation these days, more so in literature and Japanese cultural history, so I treaded along to only this film, Spirited Away being sold out shortly after tickets went on sale.u003cbr/u003eu003cbr/u003eThe Tale of Genji is, at the least, a difficult work to read. Even translated into our modern English, some passages of the work remain utterly disconnected from our conceptions of society making the world that Murasaki Shikibu lived in unreal, a u0026quot;floating worldu0026quot;, to use a worn cliche. The original work today is incomprehensible to most Japanese people – there are entire university courses focussed solely on interpreting this work.u003cbr/u003eu003cbr/u003eAnd I fear, for most viewers unfamiliar with the work, it will be incomprehensible. The narrative is disjointed, giving little to no background on the characters in the film, leaving many members of the audience dozing in their seats (this was one of the films towards the end of the festival, quite late at night). I acted almost like an audio commentator for my brother throughout the film, whispering things like u0026quot;That loveru0026#39;s the third wife of his fatheru0026quot; or u0026quot;The Emperor who ascends after Genjiu0026#39;s father is the son of the former Emperoru0026#39;s second (?) wife, who was always resentful of Genjiu0026#39;s mother, because the former Emperor preferred Genjiu0026#39;s mother over her, which is why she hates Genji.u0026quot;u003cbr/u003eu003cbr/u003eBut even so, if you have a basic understanding of the work, it can make the film an enjoyable experience. In a way, the animation brings to life the world of the Heian period more effectively than live-action would, as itu0026#39;s so disjointed from our modern world and even our conceptions of the medieval world. And itu0026#39;s beautifully done. Genji is beautiful, as are the women he seduces. The settings are beautiful, with quite detailed animation, such as Genji revolving in a traditional dance during the opening credits.u003cbr/u003eu003cbr/u003eI donu0026#39;t like what the director did with the cherry blossoms though. That was a subplot that wasnu0026#39;t part of the original tale at all, and I canu0026#39;t see why it was necessary, if perhaps to give some resemblance of a natural narrative in it. However, I loved seeing the exchanges between Genji and his partners, because thatu0026#39;s the essence of the book, really. There were even a couple of poems kept, which is quite a few. It really brought the book alive for me.u003cbr/u003eu003cbr/u003eI would say the film runs through the first quarter to third of the book, one of the more interesting times. I think the best part of the book though is the end of it, when the focus shifts away from Genji to a beautifully detailed love triangle – the first in prose history if I believe. Does anyone know of any movie adaptations of this later part, the so-called u0026#39;Uji chaptersu0026#39;?u003cbr/u003eu003cbr/u003eI donu0026#39;t know why itu0026#39;s rated as high as it is though. Thereu0026#39;s just a couple of flashes of breasts, just open robes and so on, nothing strong at all.”