The Song of the Wanderer

This film (drama)Also known asツィゴイネルワイゼン，is aJapanProducerwomen sex，At1980Released in year 。The dialogue language isJapanese，Current Douban rating7.7(For reference only)。

The Japanese title of this film refers to a record performed by the Spanish musician Sarasate in 1904. The original work is based on the novel "The Record of Sarasate" by the protagonist of Akira Kurosawa's posthumous work "Red Sun," the essayist Hyakunensai Ueda. In the film, this record and its music appear in the home of the protagonist, Aoi Tojiro, played by the acclaimed middle-aged director, Fujita Toshihachi, who is admired by Seishun. Aoi is a German teacher at a military academy, with a strong build and dressed in a heavy wool suit, resembling a Russian. The wastrel Nakazuna, played by Harada Yoshio, is an acquaintance of Aoi, but he is cynical and seems to have no seriousness, preferring to chase women, as only women can excite him. The two meet a geisha named Ko-ine at a hotel; she seems interested in Aoi, who also likes her but, for some reason, refuses to approach her, resulting in Nakazuna shamelessly winning her over. Both Aoi and Nakazuna have wives, and when Aoi visits, he suddenly discovers that Nakazuna's wife, En, looks just like the geisha Ko-ine, both played by Ohtani Naoko. En also falls in love with Aoi, yet he still refuses to approach her. She dies in despair after giving birth, and soon Ko-ine takes her place as Nakazuna's wife. Though Nakazuna has a warm home, his heart is elsewhere, preferring to wander. Aoi's wife's sister tells Aoi in the hospital that she witnessed intimacy between his wife and Nakazuna. Nakazuna leaves home to roam, buried under cherry blossoms with only his head showing, dead, near the singing voices of two young blind children, one male and one female. This film, which truly brings back the old team after Seishun's return, is difficult to recount with words; it is a dream constructed entirely through astonishing imagery, filled with Seishun's illusions and reverence for death, like Nakazuna's death beneath cherry blossoms, buried in sand, like the blind performers singing for alms, like rivals dueling with bamboo canes to knock each other into the sandy beach, like a woman playing the pipa sitting in a wooden tub swallowed by sea water, filled with profound intoxication; there are many symbolic spectacles, fears, desires, and seductive smiles, but viewers find it hard to discern the underlying narrative, remaining focused only on the extreme beauty and texture of the colors, materials, settings, and props, such as the exterior of the white western-style house and floral wallpaper of Aoi's residence, as well as the blue bamboo mat at Nakazuna's home, always filled with the steam of Japanese-style hot pot, rich in the characteristics of the Taisho era from the 1910s to 1920s. The film firmly captures the audience's attention with exquisite formal beauty, which is the purpose of Seishun's "Romantic Trilogy."