MOVIE REVIEW : ‘HIMATSURI’: A BORN-AGAIN SHINTOIST

Mitsuo Yanagimachi’s “Himatsuri” (Sunday at the Nuart for one week) is a superbly made, gloriously beautiful and remarkably subtle film lamenting man’s tragic loss of contact with nature. It marks Yanagimachi (whose similarly themed “A Farewell to the Land” was shown at Filmex) as a major film maker.

Inspired by an actual incident, “Himatsuri” is set in a small, deceptively modern-looking coastal village in southwestern Japan. The region is the cradle of Shintoism, Japan’s national religion, which involves notions of sacred times and spaces and the belief that the spirit of a god can manifest itself in trees, rocks, streams--and in fire, the element of purification. The village residents even believe their town is the place “where the first emperor landed.”

But now on that very spot a marine park is in the works, much to the consternation of a husky lumberjack (Kinya Kitaoji) who innately and unthinkingly resists change while, ironically, scoffing at tradition--constantly breaking the ancient taboos that linger in the daily life of the fishing and logging community. He’s a man in easy, joyous harmony with nature, albeit unconsciously, until in the midst of a forest rainstorm he experiences an ecstatic, spiritual communication with the ancient gods. “I understand,” he says to himself--but his understanding is that of a man for whom the discovery of the meaning of life is simultaneous with its sacrifice.

In its celebration of natural beauty, “Himatsuri” (“Fire Festival”) brings to mind Fred Schepisi’s “The Chant of Jimmie Blacksmith.” And in its flawless articulation, it surely must represent an exceptionally cohesive effort by Yanagimachi and his outstanding collaborators, writer Kenji Nakagami, cinematographer Masaki Tamura and noted composer Toru Takemitsu (whose spare score is eerie and hypnotic).

The result is a film that flows seductively from the natural into what seems the supernatural--proceeding as a drama of the most earthy, rambunctious realism while simultaneously unfolding as a ritual of the ancient gods. It’s not for nothing that Kitaoji’s old girlfriend (Kiwako Taichi), who’s the sexiest of strumpets, is called Kimiko--close to the name of Japan’ first legendary queen, Himiko, a shaman who was believed in direct communication with the gods. (Masahiro Shinoda’s exquisite “Himiko” suggested, most controversially, that she was actually a Korean!)

So profoundly sensual is Yanagimachi’s vision that his bold sexual symbolism seems powerful rather than blatant. Subtitles, even when written with the help of Donald Richie, foremost Western authority on Japanese cinema, cannot begin to translate all the intricacies of the taboos, beliefs and superstitions Yanagimachi touches upon, but close attention will allow you to be caught up in an extraordinary and unsettling experience. (The Nuart would be wise to provide its customers with copies of the film’s exceptionally enlightening press kit.)

Yanagimachi assembled a cast of distinguished veterans (including Norihei Miki as a moneylender and speculator eager to cash in on the coming of the marine park) and inspired them to become their parts rather than merely play them. So absorbed is Kitaoji in his role that nothing he does calls attention to himself. But then “Himatsuri” (Times-rated Mature for adult themes, some violence and nudity) itself seems perfection.

‘HIMATSURI’ (‘FIRE FESTIVAL’) A Kino International release of a Gunro-Seibu Group-Cine Saison production. Executive producer Kazuo Shimizu. Director Mitsuo Yanagimachi. Screenplay Kenji Nakagami. Camera Masaki Tamura. Music Toru Takemitsu. Art director Takeo Kimura. Film editor Sachiko Yamaji. With Kinya Kitaoji, Kiwako Taichi, Ryota Nakamoto, Norihei Miki, Rikiya Yasuoka, Junko Miyashia, Kin Sugai, Aoi Nakajima.

Running time: 2 hours.

Times-rated: Mature.