Irezumi

Irezumi is an intense and intriguing Japanese drama film released in 1966. Directed by Yasuzô Masumura, a visionary and heavily influential figure in the world of Japanese cinema, the film explores themes of social class, identity, power, desire, and the concept of fate. The title, 'Irezumi', is a Japanese word that translates to 'tattoo'; a fitting title as tattoos and the art of tattooing plays a significant role in dictating the narrative and symbolism of the film.

The story of Irezumi is centred around a beautiful and seemingly innocent young woman named Otsuya (played by Ayako Wakao), the daughter of a rich merchant, who breaks free from the shackles of her societal commitments and the life predetermined for her. She elopes with her lover, Shinsuke, a man of lower social status who is employed by her father. As they attempt to carve out a new life together, they quickly find themselves ensnared in a web of manipulation and deceit.

Otsuya's stunning beauty becomes both her power and her curse. Her beauty enamours almost every man she encounters, leading them to either desire to possess her or destroy her, and laying the groundwork for the numerous instances of betrayal and manipulation in the film. One of these men, a sinister tattoo artist seeks to mark Otsuya, transforming her into a living work of art – a spider lily – symbolising both her beauty and the danger she poses.

Ayako Wakao delivers an extraordinary performance as Otsuya, effectively conveying the character's complexity – a mix of innocent beauty, fierce independence, ruthless ambition, and an inherent cunning nature.

The tattoo is not just ornamental but is a tool of transformation. It embarks Otsuya on a journey of self-discovery, revealing her latent persona that thrives in manipulation, revenge, and exerting power over men who seek to control her. It also acts as a metaphor, representing both her allure and her threat, and hints towards a looming tragedy resulting from an endless cycle of desire and deceit.

The film becomes darker as Otsuya's struggle for control intensifies. Interactive cinematography plays an essential role in this narrative progression. Director Yasuzô Masumura uses striking visuals to portray Otsuya's transformation. The vibrant colours and intricate details of the tattoo against Otsuya's pale skin provide a stark contrast to her changing personality, reflecting her evolution from a naive girl to a woman embodying the spider lily, who ensnares men in her web of seduction and revenge.

Irezumi explores the cultural and social dynamics of the Edo period, including the societal roles of men and women, masters and servants, and the upper and lower class. Each character represents a different fragment of society, and their interactions expose the contradictions and disparities within the social hierarchy of the time.

The film also dives into the theme of art versus artist. The philosophy of the tattoo artist in the film, who believes that his artwork comes to life and influences the destiny of its bearer, is depicted as somewhat organic and ritualistic. This perspective on body art is deeply ingrained in the narrative and raises questions about the power imbalance between the artist and the canvas.

Irezumi is a beautiful blend of traditional Japanese art, captivating storytelling, and dynamic character development. It explores beauty's duality – how it can be a source of power or lead to one’s downfall – painting a narrative that is as enchanting as it is thought-provoking. The film is a vibrant tapestry of intense emotions, rich cultural insights, remarkable storytelling, and stunning visual imagery, making it worth a watch for anyone who appreciates cinema with an edge. Yasuzô Masumura's adept handling of these complex themes has contributed to making Irezumi an iconic piece in the history of Japanese cinema.