Yotsuya kaidan - Oiwa no borei / 四谷怪談お岩の亡霊 (‘Yotsuya kaidan: The Ghost of Oiwa,’1969) by Martin Dowsing / Anime Blog Tracker

Yotsuya kaidan - Oiwa no borei / 四谷怪談お岩の亡霊 (‘Yotsuya kaidan: The Ghost of Oiwa,’1969)

Obscure Japanese Film #233 Kei Sato This Daiei production was the seventh post-war film version of Japan’s most famous ghost story and the last made for the cinema until 1981. Coming just four years after Shiro Toyoda’s adaptation (known in English as Illusion of Blood), this one may have felt somewhat unnecessary, but it does add a couple of new twists and turns out to be surprisingly good. For those unfamiliar with the story, it concerns Iemon, a masterless samurai married to Oiwa and struggling to get by. When an opportunity to better his situation presents itself, he’s only too willing to take it even if it means poisoning his wife so that he can marry another woman (I’ll leave you to guess the rest). Tatsuya Nakadai had starred in the previous film, whereas here it’s his former classmate from the Haiyuza theatre school, Kei Sato, who may be the most cold-blooded Iemon of them all. This is partly down to the perfectly-cast Sato’s almost reptilian performance, but also the script, as I think this is the only version in which he knows in advance that the poison will disfigure his wife. Iemon is also clearly not haunted by guilt in this one, so the ghosts cannot be interpreted as a manifestation of his conscience. Sonosuke Sawamura and Sato Fortunately, Sato is not the sort to overact, although the same cannot be said of certain members of the supporting cast, especially Sonosuke Sawamura, who plays the masseur, Takuetsu. The other major role, of course, is that of Oiwa herself, but though it may be a famous part, in many ways it’s not a very appealing one for an actress – in most versions, Oiwa is initially little more than a doormat for Iemon to wipe his feet upon, then a messy make-up job makes her look hideous and finally she just has to jump out of dark corners as a ghost and cackle maniacally. Despite this, Kinuyo Tanaka and Mariko Okada – both big stars – had played her in the past, but in this case it’s Kazuko Inano, a theatre actress who had made other films but was not a film star. She does a decent enough job here, but it’s Sato’s performance you’ll be more likely to remember. Kazuko Inano The director of this version was Kazuo Mori, a veteran who had made his first film in 1936 and directed the previously-reviewed Suzakumon (1957) and The Saga of Tanegashima (1968). He was an above-average if not exceptional talent, and his choices here are mostly good ones (although the green fireball spirits that feature in one scene are more cute than scary). The film seems rather murkily photographed, which made me wonder whether the struggling Daiei studios were trying to save on electricity at the time by restricting the lighting available (I had similar thoughts about the studio’s 1968 picture The Pit of Death). On the other hand, this could equally have been an artistic choice, and it is one that would make sense as the story takes place in the days before electric light, In any case, it certainly suits the film, which also benefits from excellent sets and costumes as well as camerawork. Jun Hamamura pops up as one of Iemon's victims Perhaps the real star of the show here, though, is the wonderfully atmospheric score by Ichiro Saito, which features a combination of furiously-strummed shamisen, a string section, single bass notes and ominous rumbling sounds, all of which is subtly effective and adds considerably to the feeling of unease. AKA The Oiwa Phantom / The Curse of the Ghost / The Curse of the Night, etcDVD at Amazon Japan English subtitles at Open Subtitles If you've enjoyed reading this, feel free to buy me a coffee!

Martin Dowsing

Dec 3, 2025 • Subscribe

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