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Thirst for Love

Ai no kawaki

Japan

1966

99 Min
Color, Black and White
2.45:1
Japanese
  • Currently 4.2/5 Stars.
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DIR Koreyoshi Kurahara

PROD Kazu Otsuka

SCR Toshiya Fujita, Koreyoshi Kurahara, Yukio Mishima

DP Yoshio Miyajima

CAST Ruriko Asaoka, Nubuo Yamada, Tetsuo Ishidate, Akira Yamanouchi, Chitose Kurenai, Yûko Kusunoki, Yoko Ozono

ED Akira Suzuki

PROD DES Kazuhiko Chiba

MUSIC Toshihirô Mayuzumi

Synopsis

Koreyoshi Kurahara adapted a novel by Yukio Mishima for Thirst for Love (Ai no kawaki), a tense psychological drama about a young woman who is widowed after marrying into a wealthy family, and becomes sexually involved with her father-in-law, while harboring a destructive obsession with the family gardener. Kurahara’s atmospheric style is a perfect match for Mishima’s brooding sensuality. –The Criterion Collection

Director

Original

Koreyoshi Kurahara

Koreyoshi Kurahara (蔵原惟繕 Kurahara Koreyoshi?) (May 31, 1927 – December 28, 2002) was a Japanese screenwriter and director. He is perhaps best known for directing Antarctica (1983), which won several awards and was entered into the 34th Berlin International Film Festival. He also co-directed Hiroshima (1995) with Roger Spottiswoode, which was nominated for the Primetime Emmy Award for Outstanding Miniseries.

He was the nephew of literary critic Korehito Kurahara, and older brother of film director Koretsugu Kurahara. His son Jun Iwasaki, a former producer for Ishihara International Productions Inc., is currently secretary to politician Nobuteru Ishihara.

He was born in the city of Kuching, then part of the kingdom of Sarawak (now a state of Malaysia) on Borneo.

While a film student at Nihon University College of Art, he became a live-in student of Kajiro Yamamoto at the introduction of Ishirō Honda. Upon graduation in 1952 he joined Shochiku’s Kyoto studio and worked… read more

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Mr. Arkadin

26Nov11

Another perfect film from him (though totally different than the other I've seen, The Warped Ones). His editing is fascinating, the jarring, often weird transitions and cuts. Also his shot compositions, and the vertiginous sweep of his camera through the actors as staged in each landscape, existing like in a painting (having recently seen The Hypothesis of the Stolen Painting, I couldn't help but compare the two).

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you'll get whatever I decide and like it

By futures​tar on September 17, 2011

The 1960’s period of film production in Japan felt a need to explore any avenues from the norm freeing themselves from the oppressive occupying military forces also any shackles of conformity from…  read review

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