- Actores: Vivian Wu, Ken Ogata, Ewan McGregor, Yoshi Oida, Hideko Yoshida
- Directores: Peter Greenaway
- Audio: Castellano
- Subtítulos: Español
- Región: Región 2 (Más información sobre Formatos de DVD.)
- Número de discos: 1
- Calificación FSK: Desconocido. No se nos ha facilitado la calificación española por edades (ICAA), pero puedes consultarla en la página oficial del ICAA. Las calificaciones por edad y/o versiones de otros países no siempre coinciden con la española. Más información sobre las diferentes calificaciones por edad.
- Estudio: Karma Films
- Fecha de lanzamiento: 24 mar 2010
- ASIN: B004M1YNOW
- Clasificación en los más vendidos de Amazon: nº31.071 en Cine y Series TV (Ver el Top 100 en Cine y Series TV)
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The pillow book [DVD]
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Descripción del producto
En Kyoto, en los años 70, un anciano calígrafo escribe con gran delicadeza una felicitación en la cara de su hija el día de su cumpleaños. Cuando se hace mayor, Nagiko recuerda emocionada aquel regalo, y busca al amante-calígrafo ideal que utilice todo su cuerpo como una hoja en blanco....
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While I appreciate the past necessities of tweaking things to work on the older smaller screens (when this came out originally on DVD), now that most of us have larger-sized and wider-aspect flatscreens, it would be more appropriate - and desirous - for there to be a bluray version that brings back the wondrous use of space and aspect utilized in the original film's theatrical release. Additionally, it would be greatly instructive to hear what Mr. G might have to say about why he created this film to look and feel the way it does: what were his motivations for film/video, aspect ratio, image placement, etc.
"The Pillow Book" takes a fascinating, and revealing, look at culture, art, and of course literature, and how they interplay with our more primal, instinctual urges; and ultimately what all of it says about being human and our struggle for meaning as well as happiness. A "must-have" for any serious film aficionado/collector!
But here is point: this is art, not entertainment. Beyond the intellectualizing, this piece struck a chord so deep that it changed my life.
At one point in my life someone asked my why I wanted to be an entertainer. I was offended by that question -- but wasn't sure why. Perhaps it had something to do with my grandfather and uncle both being ministers. Were they entertainers? I equate entertainment with TV, of a very comfortable slide into oblivian. Most movies are like that. They target specific entertainment buttons. There's the action button. The relationship button. The laughter button. Each neatly wrapped up into a neat little package.
The Pillow book doesn't fit any of those packages. That's what's so annoying. One doesn't expect to see a work of art in the theater. It is erotic but doesn't try to turn you on. It is both dense in space yet sparse in time. Moreover it is quite satisfying. As it ends, you get to *feel* the process of reaching a new point of maturity.
Yes, the characters are shallow. So are most twenty year olds. With experience comes depth. Many of those experiences require reflection. This is one of those movies that can overwhelm, if you let it. Or just let it seep in. Then dream. Feel what it's like to treat people's bodies as the pages of a book. To overlay your story on top of another.
First, Peter Greenaway has the eyes of a visual artist. His attention to the odd detail is incredible and subtle. I found the film to be full of images that went beyond the story line and pentrated at an unconscious emotional level. The act of exploring the human body with a caligraphy brush, composing stories, poems, novels, autobiography is certainly a compelling image and concept. Isn't our life written on our bodies? Don't we read the bodies of those with whom we are intimate? Don't we in some way brand or stain the bodies of those whom we love and in turn are we not burned and molded by those who love us? From the corpses of a young lover wrapped in indigo paper, to baths in ancient urns, the an army of handsome Japanese nude men covered in caligraphy, the film floods you with images. The storyline, the text, is only part of the story - a point I wish that those who did not like this film would recognize.
Second, it is unique storytelling. Nagiko, a Japanese girl, adores here novelist father. She comes to understand however that he must submit to sodomy with his homosexual publisher to remain in print and prosperous. Nagiko marries and becomes an unhappy young bride. She runs away from her husband and Japan to Hong Kong where she eventually becomes a fashion model. She explores the concept of writing on the human body as her art form as she moves from lover to lover, experience to experience. She meets a handsome European translator, Jerome, and becomes fascinated with him once she learns he is the publisher's lover also. She seduces him and then gradually develops a plot of revenge against the publisher. Yet, she has met her sexual, artistic, intellectual, aethitic match in Jerome and they both know that their relationship is rare. She and Jerome plot to have her story read by the publisher while he is making love to Jerome and sees the caligraphy on Jerome's body. But this plot backfires terribly as Nagiko finds she can not bear the jealousy and she rejects Jerome. Jerome, the romantic, kills himself with a drug overdose. The publisher uncovers Jerome's body and has his skin turned into parchment so he can retain his lover in book form. Nagiko learns of this and wants the book, for Jerome's skin is her medium. Her revenge includes writing a series of tales of desire and experince on the bodies of handsome Japanese nude young men whom she sends to the publisher for publication. The publisher is captivated by the beauty of the work and the men and begins to publish her novels and poems. Yet in the end, Nagiko sends an assassin with the final chapter, the last of 12 books, who kills the publisher and retrieves the book composed of Jerome's skin. I dare you to find a more odd story than this!
This visual feast of the unconscious is not for everyone. It is only somewhat linear with flashbacks to Nagiko's childhood and sections from the Pillow Book of Sei Shonagon integrated throughout the film. Yet, the character of Nagiko, her cognitive association of writing with the body, made far more sense than many performance and conceptual artists in the art magazines.
I was left with one haunting line, spoken by the 10th century courtesan who wrote the original pillow book in the title who says at the end: "I have loved two things, literature and the body."