Sep
8

Kagi (1959)

Posted in 1959

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Winner of Cannes’ Special Jury Prize, The Key is one of acclaimed director Kon Ichikawa’s (Tokyo Olympiad, The Burmese Harp) greatest works. This captivating blend of comic satire and drama follows an elderly man’s attempts to satisfy his younger wife (Machiko Kyo, Rashomon, Gate of Hell). When “potency” injections fail, Mr. Kenmochi incites his own jealousy by orchestrating an affair between his wife and his doctor, who happens to be his daughter’s fiance. The wife and doctor are eager to oblige Kenmochi, his daughter is furious, and the scheme proves both a success and a deadly disaster. With dazzling imagery, rich irony, and superb acting, Odd Obsession illuminates the ongoing battle between personal desire and societal convention.
Kon Ichikawa creates a darkly comic, delirious, and irreverent satire on aging, sexuality, and narcissism in The Key. By repeatedly shifting narrative perspective among Kimura, Kenmochi, Ikuko, Toshiko, and even to the visually impaired housekeeper, Hana (Tanie Kitabayashi), Ichikawa provides an omniscient, critical view of the self-absorbed, appearance-conscious bourgeoisie: Ikuko’s seeming acceptance of her husband’s declining health that contradicts her aversion to a physically imperfect kitten; Kenmochi’s sale of his personal antique collection that is publicly concealed by his retention of the art objects in the house; Kimura’s courtship of Toshiko in order to further his social stature. Adapted from Junichiro Tanizaki’s highly sensual, risqué, and controversial novel – a provocative mixture that Ichikawa himself would initially struggle to define as either “art” or “pornography” – Odd Obsession serves as a thematically dense, tonally muted, yet incisive and acutely subversive examination of vanity, sexual obsession, and the impossible pursuit of eternal youth.