• Formal and stylistic bliss—the strongest effort from Imamura so far in my study
  • Imamura isn’t undone by the running time which is pretty special—150 minutes—it’s almost unfathomable how he did this the year after The Insect Woman in 1963—this is long, detailed, and so carefully and beautifully crafted in nearly every frame
  • A strong opening- train freeze frame still photograph montage. Wow. Then he goes into a freeze frame photo montage of the interior of our protagonist’s (Masumi Harukawa) home—well-staged (even in stills) Ozu interiors with shoji doors
  • Another Ozu-like mise-en scene shot- mouse wheel in foreground
  • The lamp in the foreground during the robbery and rape—(there is where style and content break with Imamura being in the Ozu style)—this is seedy, brutal, ugly—typical Imamura
  • Imamura actually uses Welles’ low-angles with some foreground background work as well.
  • Kô Nishimura in the foreground, Harukawa in the background tied up—we have the shoji door creating a frame and giving depth—and then a hanging light swinging back and forth in an otherwise dimly lit room giving occasional light to her
  • An oddly illuminated train scene just after this pivotal and traumatic scene—this is all 15 minutes in
  • Gorgeous shot of Nishimura and Harukawa and their faces laying down after the crime
  • Like The Insect Woman we have a rape here—brutal—especially for a 60’s film
  • A dazzling overhead 360 camera movement shot of Harukawa in the aftermath of the crime
  • Sparsely used experimental score
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  • Uses slow-mo once around the train (don’t love the usage of it once formally)
  • The mouse (looks like a hamster) in a wheel metaphor used here visually—on the nose a bit—
  • The train is a formal trigger—so many scenes and pivotal moments on and around trains
  • Imamura- nudity and sexuality again and again
  • For Imamura it’s a remarkable achievement in mise-en-scene, a formal achievement with the train— depth of feel and photographic skill
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  • I do feel like Imamura is a bit inconsistent with the inner monologues—unlike the train, freeze frame, and mise-en-scene brilliance this isn’t set up from the get-go
  • Gorgeous framing at the library scenes
  • An unreal tracking shot as he pursues her through the cars of the train
  • Like Insect Woman this is depressing— a cursed woman
  • The tunnel at the end is a fabulous set piece, the frame is blocked by snow
  • A bizarre romantic saga rape/woman survival film….
  • Thoughtful shots and gorgeous photography throughout. There are some minor flaws but enough auteur-driven stylistic bravado to make it one of the best films of 1964
  • A masterpiece