Golden Demon the Movie (1954)

Golden Demon (1954)

          Golden Demon, a Japanese film made in 1954 directed by Koji Shima, is based on a novel "Golden Demon [金色夜叉]" written by Ozaki Koyo. Some of the main actors are as follows:

• Kanichi: Jun Negami
• Miya: Fujiko Yamamoto
• Tomiyama: Eiji Funakoshi
• Akagashi: Mitsuko Mito

Plot [SPOILER ALERT!]

        In Tokyo, 1890, Kanichi, a student, and Miya, the daughter of Kanichi's debtor, are in love, yet this relationship faces a brutal ending at the hands of Tomiyama, a wealthy man in town, who expresses his interests in Miya. Although Miya tries to stay faithful to Kanichi, her parents convince her with words that do not actually represent Kanichi's mind. Eventually, Miya and Tomiyama meet at Atami, and Tomiyama shows his love towards Miya. He also gives her many gifts to earn her heart. Later on, Kanichi goes to Atami to know what Miya really wants. Many misunderstandings arise here between Miya and Kanichi. In the end, Kanichi leaves Miya, and Miya marries Tomiyama. However, Tomiyama and Miya's marriage is not a happy one, and Miya and her parents regret their decisions for the marriage. For a few years, no one hears from Kanichi, but he comes back as a clerk of money lender. Akagashi, a well-known money lender in town, becomes interested in Kanichi, but he refuses her feelings. Kanichi, now known as a merciless money lender, is only interested in earning money. After going through many episodes due to his business, Kanichi is attacked by some people, and his house is set on fire. Miya visits him and apologizes, but Kanichi doesn't accept it. She walks into the water to commit suicide, yet Kanichi saves her. 

Novel vs. Movie

It is natural for people to have different experiences from novels and movies, yet this work has a significant difference: the ending. Unlike the ambiguous ending of the original novel, the film ends with a happy ending (though it could be "unhappy" depending on your perspective). Given the ambiguity, it may have been an inevitable decision for the playwright to give a certain ending to the film. However, I thought this was a very interesting, since it diverges from the novel.

Moreover, in my opinion, the film set a better example for the genre of melodrama. There are two key features I would like to explain more about regarding my opinion: Music and Gender Roles. Music is an element that the director effectively uses to develop the film, and gender roles are one of the features that were handled well throughout the movie.

Music

In this film, "music" is a key element; it shows the highlight of characters' emotions, explains the story better, and strongly set the genre as melodrama.

In the beginning of the film, while people are playing card games, there is a guy, who sings in front of everyone. Although no one focuses on his song, the lyrics of song seems to hint what happen in the story. While the lyrics contain a very emotional story, the tone and melody of the song is very calm and relaxed. Irony is also shown in the scene, as there is a very slow song sung by a singer (or chanter), whereas everyone else is busy shouting out to win the game.

In addition, there is a scene in which Kanichi goes to Atami to talk to Miya. Here, as Kanichi's emotion develops, music also becomes louder and higher in pitch. Thus, the background music surely adds to the dynamic of the story. This also makes easier for audience to understand when the highlight of the story is.

Later in the film, Miya plays a traditional instrument in front of everyone. In my opinion, in this scene, the tempo and melody played by Miya represents Miya's feelings in the scene. At the end of her performance, she cries; this clearly shows that Miya couldn't control her feelings and end up with the explosion of emotions.

Like these examples, music is very well used in the film to explain and further many parts of the film. Thus, the film seems more melodramatic than the novel, since reading the novel without any sound effects could make the emotions rather mild.

Gender Roles

In this film, gender roles can be clearly seen through many filming techniques. Unlike reading the novel, you can see the clothes and the backgrounds in the film.

Women in the film are wearing traditional kimono throughout the film, (in very early scenes Miya is briefly wearing hakama that indicates she is going to women's higher school or college, but this is underplayed). Also, in most of the scenes, in which women appear, the background is a room of a house. This shows that at this period, women were expected to stay home and take care of all the happenings at home. Also, it is interesting how they don't go to schools in any of the scenes, but rather learn how to play instruments and what not at home.

On the other hand, male characters wear a variety of clothes depending on the scene; they wear school uniforms at school, baseball uniforms after school during the practice, or traditional kimono when they meet outside the school or activity area. It shows how men are involved in more activities outside the home than women. This again takes us back to the discussion of space. Men are usually outside, working, learning, or playing. Also, they are expected to go to college to become more educated. 

As you can see there are clear differences between what is expected from men and women. This is more easily understood through films because they are naturally implied in it.

Food for Thought

• What is your opinion on the difference in the ending of the novel and the film? Do you think it is a fair adaptation?
• After watching the film, did you think that any of the characters were portrayed differently than in novel?
• What are your favorite film techniques that the director used to increase the emotional level of the movie?
• Do you agree that the film is more effective in terms of setting the genre of melodrama than the novel?

Gone Girl

Dear Melodrama Enthusiast,

Gone Girl by Gillian Flynn is a chilling metamorphous of melodrama and murder mystery. The 2012 novel, and recently released 2014 film by David Fincher, tells a story of Nick and Amy Dunne, a couple whose marriage falls apart after relocating to a small Missouri town from New York City. Amy has disappeared on her 5-year wedding anniversary and the police are suspicious that Nick has killed her. The first half of the story is told in first person, alternately by both Nick and Amy. The chapters are short, only a few pages long, and always ends on a cliffhanger. The second half of the story reveals that Amy and Nick are unreliable narrators and that the reader/viewer has not been told the whole truth. 

The pressure that Peter Brooks discusses as an integral component of melodrama is certainly felt in Gone Girl. Amy feels pressure from Nick to be the “perfect” wife, Nick feels pressure from Amy to be the “perfect” husband, the police officers in the Missouri town feel pressure to pin Nick for Amy’s disappearance, Nick’s sister feels pressure to protect her brother, Amy’s childhood “stalker” feels pressure to protect Amy during her disappearance, and both Amy and Nick feel pressure to hurt each other. The pressure within the story was so great that while reading the novel I could not seem to put the book down and while watching the film I was sitting at the edge of my seat. At times I even felt my chest getting heavy and felt the impulse to cover my eyes, not because what I was reading/watching was scary but because the pressure was so great. Additionally, hearing the music in the film and the soft/detached tones in the actors' voices as this murder mystery unfolded caused me to have goosebumps. As such, this story has the capability of evoking a physical and emotional reaction out of the reader/viewer. 

Death, a theme that has been prevalent in many melodramatic works, was certainly looming over this story. Some questions that are constantly being grappled with are: Is Amy dead? Did Nick kill Amy? Will Amy kill herself? Will Amy kill Nick? I would tell you what happens, but I’d rather you read the book or see the film. Another element to consider is not just physical death, but also internal/emotional "death". Do relationships have the capacity to kill individuals internally/emotionally? Does Amy and Nick's marriage kill them inside? Since the story is so twisted and the characters have so many faults of their own, I don't think this question has a right or wrong answer.

Another component of melodrama, gesture, is widespread throughout the story. Amy offers Nick gestures in the form of clues for a treasure hunt on their anniversary. However, these gestures turn out to be a giant game intended to destroy Nick. Again, I would tell you what happens, but it’s better for you to read/watch for yourself.

I also thought that dualism amongst characters played a large role in this melodrama, which is not something we've discussed too much in class. For example, Nick is the type of guy who "watches reality TV with one hand down his pants" while Amy is a type-A, Ivy League grad. Moreover, Amy is a well put together, sophisticated, and independent woman while Andie (another female character whose role I don't want to spoil for you) is a "flakey" young girl who cannot seem to function without Nick. I think that these stark character differences help enhance the tension and pressure throughout the story.

Actors present in Gone Girl that have not been seen in any of the melodramatic works discussed in class thus far are devious media and and a troubled economy. Both have negative impacts on Nick and Amy as individuals and Nick and Amy as a couple, and those consequences assist in creating an overwhelming melodramatic feel throughout the story. I think this story is a nice representation of the effect that societal structures and/or institutions can have on singular lives and relationships. If it weren't for the economy displacing Amy and Nick from NYC to Missouri and the media exacerbating Amy's disappearance, Gone Girl and all of its glory would cease to exist. 

On the whole, I would argue that this story is commentary on yet another essential melodramatic theme, good versus bad. Flynn is wrestling with the concept of good versus bad by asking questions relating to marriage: What constitutes a good marriage? Can there ever be a good marriage? What makes a marriage bad? Can bad marriages ever change into good marriages? I wish I could say after walking away from the novel and film that I had answers to these questions but I think the story left me even more confused. Perhaps the simple answer to all of these questions is that marriage is messy and in constant flux with good and bad. Nonetheless, the story is a message that relationships are difficult and will always involve compromise. 

I hope that you consider reading Gone Girl or going out to see the film. I can say with 100% confidence that this book was one of the best books I have ever read and I think anyone would benefit from reading this intimate melodramatic physiological thriller.

 Once you do decide to read the book or see the film, here are some questions to keep in mind:
1. Does the actual physical violence that takes place or the threat of physical violence create more pressure within the story? 
2. Could the story have ended any differently or was that ending the only possible option?
3. What is the role of conflicting morals throughout the story? 
4. How does location add to the melodramatic frame of the story? 
5. What similarities are there between this story and other melodramatic works?

Sincerely,

An Obvious Gone Girl Fan

Washington Square

            Washington Square by Henry James is about a girl named Catherine who struggles to maintain relationships with her family and her lover, Morris Townsend. At first glance, Catherine is assumed to be a weak-minded, docile girl who cannot think for herself. As the story progresses, it is clear that Catherine is a dynamic character who eventually gathers enough courage to speak for herself instead of becoming doll-like.

            The melodramatic elements used in this story all relate to major themes such as family, betrayal, and social class. Catherine comes from a wealth family, so she is expected to behave as an upper-class woman in society. This means that she must obey her father, and that a suitable husband for Catherine would be a wealthy or upper-class man who could support both himself and her, along with any future children they may have. In contrast to Morris, he would be deemed unsuitable as Catherine’s husband-to-be, so it is understandable as to why Dr. Sloper disapproved of him as a possible son-in-law. Catherine not only has to face the disapproval her father has of her and her choices, but she also has to deal with meddling from uninvolved parties such as her Aunt Lavinia, who instead of wanting to help Catherine seems to cause more trouble for her and is instead just interested in fulfilling her own curiosity.

            Within in the first few pages of the novel, it is clear that Catherine is the character to be sympathized with by readers. On page 5, it says “…Mrs. Sloper gave birth to a second infant – an infant of a sex which rendered the poor child, to the Doctor’s sense, an inadequate substitute for his lamented first-born…The little girl was a disappointment”, portraying Dr.Sloper as a father who preferred a son. While Dr. Sloper did not abuse Catherine, the way he seemed to reject her subtly would psychologically negatively affect Catherine. As a reader, we are immediately convinced that we should pity Catherine and hate her father. Throughout the development of the novel, Dr.Sloper tries to make it seem like Catherine is a trouble-maker, but in reality it seems like he instead is the one who causes the most drama with his passive aggressive attitude towards her. While it can also be seen as him fulfilling his duty as a father by being overprotective of his daughter, it is clear that he tries to rule over Catherine as a tyrant instead, saying that “If she doesn’t let go, she will be shaken off – sent tumbling into the dust! That’s a nice position for my daughter,” (150).  Although Catherine seems oblivious to the insults her father uses, she still loves him and tries to salvage her relationship with him while being in a relationship with Morris.

            When Morris was first introduced, his and Catherine’s relationship was described to be between a handsome young man and an ordinary, plain-looking girl. Based on the fact that this novel contained melodramatic content, it was reasonable to say that Morris was suspicious for suddenly claiming that he fell in love with Catherine after just one meeting. There were sentences that seemed to raise even more suspicions about Morris, such as on page 94 when he believed Lavinia’s house was “a devilish comfortable house,” or on page 92 when he questions Lavinia about whether or not Dr.Sloper included Catherine on his will. This relates back to the theme of social class, as money was very important in this period of time. At this point, it is clear that Morris is not really in love with Catherine, but is instead after her inheritance money. Morris had questioned more than once about Catherine’s inheritance, so it was not out of curiosity but out of greed that he asked Lavinia such personal questions. This is one instance of betrayal that Catherine experiences, as the lover she believed in so much was only after her money. The final blow for Catherine would be when Morris leaves her and ends up marrying another woman, most likely for money. As readers, we are feeling the utmost sympathy for Catherine, but we also can highly respect her change in attitude when she rejects Morris’ futile attempt in wooing her back in the last chapter.

           Besides Dr.Sloper, Catherine’s aunts Lavinia and Elizabeth played a huge role in this novel as side characters. Elizabeth was the kind-hearted aunt who often had good advice that was usually ignored by her brother and father to Catherine, Dr.Sloper. Lavinia was a character that most readers would highly dislike along with Dr.Sloper and Morris. At first it seemed like she was supportive of Catherine’s desire to be with Morris, but it became clear afterwards that she was only involved for the gossip and to satisfy her own curiosity. Lavinia ends up betraying Catherine in that aspect, as she causes emotional distress for Catherine multiple times throughout the play. When Catherine finally has an outburst towards Lavinia’s unhelpful meddling, she tries to defend herself by calling Catherine “ungrateful”, hoping to cause guilt for her niece.

            Not only does Catherine struggle with the insincerity of Morris’ actions, she also has to deal with her deteriorating relationship with her father and the annoyance that is named Aunt Lavinia. One can only handle so much stress, so Catherine being pitiable is a melodramatic element. She deals with one betrayal after another, but instead of staying as a weak character who ends up losing everything, she gains something that no one would have been able to teach her – courage to stand up for herself.

Questions:

1)      As mentioned in the novel, Lavinia and Morris were compared to be mother and son. What do you think of this relationship?

2)      Do you think Dr.Sloper’s disapproval of Catherine’s relationship was because he was truly overprotective of his daughter and wanted the best for her, or just that he didn’t want to give up his fortune to someone like Morris?

3)      An explanation was not given in the end of the novel, but why do you think Catherine does not marry? How does this add to the melodramatic theme?