“He won’t even know your name.”
Pretty sure we had the motion blur on but no matter.
Whilst Samurai films have been successfully translated into westerns before, Harakiri isn’t necessarily one that I would go for as easy material - the source material is so entrenched in Japanese history and politics that it would be a very impressive thing to pull off whilst maintaining Kobayashi’s anti-authority tones and critiques of existing power systems.
Requiem For A Gringo does not quite go for that. There’s only a passing resemblance to the 1962 film until we near…
Imamura's version of the story in comparison to Kinoshita's reveals a showcase of the differences of the New Wave and Golden Age film.
Instead of Kabuki and the use of humanism there is a far more realist approach both in direction and performance that allows for a cold detached gaze. For Imamura, people are no different to the animals they co-habit with in which survival is the main objective.
And thus, sex and death become two of the strongest themes…