Barbara, a dancer / stripper, traveling, going home to Nagoya after a long absence. She lives above the bar Nami no ue, in an area whose inhabitants are mainly from Okinawa. Upon her return, Barbara faces problems beyond his reach, his brother and two friends took one of their teachers hostage to extort money to go on a school trip … Miyazato, the man who shares the life of Barbara is there, but not Aiko, her best friend, who had yet to wait. Miyazato, yakuza and laborer in a nuclear, Barbara learns that Aiko was forced into prostitution for the workers of the plant, and he helped him escape from this hell … Aiko has been distributed to Mihama [ 1 ] (central Japan). Without even thinking for a moment, Barbara decided to go see her friend.
Aiko returned to Mihama to find the one she loves, Yasuji, but he died in an accident … In fact, Yasuji was irradiated by accident while working in the plant. Tracked, it is hidden by his beloved that refers to his death, up to hide it with a supply of oxygen in the tomb! Alone with Barbara, she unearths the buried alive before they married in the middle of the cemetery. But their happiness does not last. Yasuji and Aiko are murdered. Barbara then meets Maria, a young Filipino also forced into prostitution. Barbara takes him with her in Nagoya, but the yakuza continue …
With its title … extension and actually quite enigmatic, Ikiteru Uchi Nano Hana ga yo, yo Shindara Soremade Tô Sengen, which basically means “declaration: that we live is beautiful, when everything is dying over, “hides the seventeenth feature film directed by Morisaki Azuma (Kuroki Taro to Ai no Boken), produced under the auspices of the mythical ATG – Art Theatre Guild – in 1985. Beyond the simple road movie, it depicts the journey of a woman through the trials of an active life …
An icon. Barbara is an icon in spite of herself. It alone accounts for the Woman in all her splendor; a woman free as a bird that has just chosen his lifestyle as it is frowned upon in a society openly misogynist. Beyond the fate of a woman … Ikiteru us into the journey undertaken by her heroine, trip-like trip poetic, introspective journey and a geographical slice of life that, as challenging as it is, does finally a step in the tumultuous life of this young woman in search of humanity … a search of love and happiness purely altruistic; Barbara finds its welfare than in those she loves.
Ikiteru … is a strange movie. A different film, certainly … but how different? The atmosphere that emanates, between dream and reality, moving from one character to another without really dwelling on one of them … The staging of highly metaphorical Azuma Morisaki confers a kind of surrealism in film and the characters are themselves rooted in an obvious reality, frightening, attractive … but the violence that surrounds them and the shadow of death hovering over them, makes dreamers; these unreal characters alongside a harsh reality that would make anyone crazy … their bearings are disturbed, they who have asked anyone for anything, become embroiled in a strange conspiracy involving political power, corruption, prostitution, murder … from the trifle we telling the adventures of a dancer, the pamphlet denouncing the power up its responsibilities there is a step that crosses blithely Morisaki.
It seems clear that … given the role to another actress Mitsuko Baisho (Crazy Family) was not an option; beautiful, sublime, beautiful, adjectives to describe the Japanese actress does seem to dry up as beauty does matched only by his charisma. Mitsuko is Barbara, and Barbara is Mitsuko, a woman wanting to live life to the fullest and enjoy every moment of the people she loves, and the present. Human fable and folklore (music by Ryudo Uzaki the hilarious, gleefully mixes also the most popular genres of Japan, the enka to pop) that transports the viewer into the slice of life of a selfless woman crunches his destiny to the fullest, without worrying about tomorrow. Like its heroine, a “normal” woman and outstanding at the time … Ikiteru itself as a “great little movie” … essential.
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