Film review: Manji (1964) by Yasuzo Masumura

Junichiro Tanizaki’s novel ‘Manji’, which translates to ‘Swastika’ and was later given the English title ‘Quicksand’, is a popular erotic story of obsession, jealousy and destruction surrounding a bisexual love affair that develops between upper-class citizens. , the four lovers meant to symbolically form the Buddhist swastika. This iconic literary work has undergone numerous film adaptations over the years. The most famous and perhaps best, however, comes from director Yasuzo Masumura with his 1964 classic ‘Manji’, also known as ‘Swastika’ and ‘All Mixed Up’. Notably, this version would have a screenplay written by Kaneto Shindo, who international moviegoers will best remember for directing the horror masterpiece “Onibaba.”

Manji can be seen at Camera Japan

Suddenly, married woman and artist Sonoko Kakiuchi is unhappy with her marriage to her husband Kotaro. While attending a private art school, she meets a model named Mitsuko Tokumitsu, whose beauty and devilish charm seduce Sonoko. She even paints a portrait of the young woman. The two become friends, and eventually Sonoko falls in love with Mitsuko, and they both begin a secret romantic relationship. But what starts as falling in love becomes an obsession, which only becomes more complicated when Kotaro and Mitsuko’s fiancée, Eijiro Watanuki, eventually become involved, and a destructive love affair ensues.

As expected with a Yasuzo Masumura film, they are not afraid to challenge the audience beyond conventional entertainment. Here, under Masumura’s direction and Shindo’s script, is an exploration of taboos in Japanese society. It’s quite daring, especially in 1964 when pink film was starting to become popular. What viewers get with ‘Manji’ is not some perverse male gaze fantasy meant to function as pornographic content, but instead a captivating erotic drama that is an in-depth portrayal of sexual excesses and some obsessive love with the human psyche can do. What begins as a passionate and intimate lesbian romance between Mitsuko and Sonoko gradually evolves into a story of obsession and deception, as all four main characters eventually become entangled in each other’s love lives, leading to blackmail, betrayal and ultimately suicide. It is cleverly ironic that the four-way romantic feud that arises between Mitsuko, Sonoko, Kotaro and Watanuki is equated with a Buddhist swastika, albeit one that is destructive. While the four principles of the real, original religious symbol represent Buddha’s footprints moving towards a path of good, the metaphorical in ‘Manji’ is one of inevitable self-destruction.

While this film can be quite melodramatic, it never reaches a point where it takes the audience out of the story. You could say there are even potentially intended touches of dark cynicism that Masumura implements into the story. It helps that every actor here gives their all, and the cast plays off each other fantastically, especially the two female leads. Ayako Wakao and Kyoko Kishida are both great here, with Wakao’s seductive Mitsuko Tokumitsu and Kishida’s passionate Sonoko Kakiuchi remaining captivating from start to finish while being full of surprises. Eiji Funakoshi and Yusuke Kawazu are also memorable as the overbearing Kotaro Kakiuchi and the deceptive Eijiro Watanuki.

Like many of Masumura’s films, the images are elegantly composed, and Setsuo Kobayashi’s meticulous cinematography emphasizes the passionate feelings expressed throughout the film. Furthermore, the more explicit sections never come across as overtly exploitative in nature. They’re all meant to serve a purpose in the story, without ever feeling overdone. Tadashi Yamanouchi’s musical score is suitably melancholic and often compliments what’s happening on screen.

“Manji” is one of Yasuzo Masumura’s most revered films, and it’s understandable why. In addition to pushing boundaries for the time, it fascinates with a fascinating dark story about love and betrayal and a moving representation of taboos without ever falling into exploitation. Junichiro Tanizaki’s novel of the same name has been adapted into many films, but if there is one worth discovering, it is this one.