Ten Years After a Sting in the Tale Review
Inu-oh, 2022
Directed by Masaaki Yuasa
Starring Avu-chan (vox), Mirai Moriyama (voice), Kenjirô Tsuda (voice), Yutaka Matsushige (vox) and Tasuku Emoto (voice)
SYNOPSIS:
A fictionalized depiction of the life of Inu-oh ("King Domestic dog"), a 14th-century Japanese performer of music drama at the time of its transition from the folk art of sarugaku ("monkey music") into the formalized traditions of Noh and kyôgen.
It can sometimes have a lilliputian bit of time in lodge for you to fall in beloved with a piece of music or a vocal. Something initially jarring can soon go a hit-echo masterpiece once y'all're attuned to the rhythm of a particular artist. In the example of director Masaaki Yuasa's history lesson of feudal Nihon filtered through the rock-opera stylings of Queen or the kaleidoscope confetti of a Coldplay concert, that happens effectually nigh track ii, so never lets up during a mind-boggling, percussive, exhilarant musical anime that's quite different anything you've seen before.
Adapted from Hideo Funrukawa'southward 2017 novel Tales of the Heike: Inu-Oh, Yuasa'southward musical odyssey is set against a complicated historical background, which tin be quite impenetrable to the casual viewer. Based on a pop real-life Noh performer, which is the Japanese art of masked drama accompanied with song and trip the light fantastic toe, the film is the story of Tomona (Mirai Moriyama), who was blinded every bit a immature male child and raised with a group of traditional Biwa playing priests. As they travel Nihon seeking new stories to tell through their music, Tomona encounters Inu-oh, a hideously deformed 'monster' (voiced superbly past transgender Japanese rock star Avu-chan), who moves effectually using his extended arm, and wears a mask to hide his confront.
The 2 apace become friends, soon realising their unique individualism brings the best out of eachother during their collaborations, so-much-so that it begins to have transformative effects on Tomona and Inu-oh; in the former it manifests a new level of confidence, casting bated traditional dress, and sometimes apparel birthday every bit he becomes a kind of 14th-Century non-conformist Ziggy Stardust, whereas Inu-oh experiences a regenerative procedure that evolves with every new note he reaches or dance movement he pulls off. However, such flamboyant expressiveness and new way of storytelling flies in the confront of Shogunate tradition, with the Japanese military preferring that history lessons are all sang from the aforementioned hymn book.
Beautifully brought to life using an aged color palette, which only accentuates the moments in which the pic explodes into a hallucinogenic low-cal show, Inu-oh is a heady concoction that'south best experienced knowing as little as possible going in, before assuasive its unique beats to assault your senses in the best way possible.
Things first slowly, with a truncated history lesson and your standard character back-story sequences, earlier this is all tossed aside similar one of Inu-oh's extended limbs in favour of a series of sing-a-longs that eventually build to a crescendo involving flying dragons, neon face-pigment, and the souls of the legendary Heike. It's aggressive, albeit a lilliputian suffocating when it comes to any graphic symbol development, but the numbers are so huge and infectiously proficient, largely due to Avu-chan's stunning vocal-range and the Freddy Mercury-mode human foot-stomping nature of it all, that you lot're just carried along by the music.
On which, the moment in which Tomona leaps atop a bridge, encouraging the gathering crowds to clap in unison to the propulsive riff that will provide the foundation to the audio of the remainder of the picture, is one that even the Live Aid bombast of Bohemian Rhapsody cannot friction match. It kick-starts an enjoyable and exhausting opus that could prove to be the divisive moment for anyone not willing to travel the glam-rock road through ancient Japan.
Beneath the ambitious bravura and showmanship tin can be plant a resonant and thoroughly depressing cautionary tale about how history can exist re-written and censored by governments, simply with contemporarily aligned protagonists like Tomona and Inu-oh equally inspirational lead characters, and a couple of barnstorming tunes, much similar its revered director, Inu-ohought to go out its own indelible legacy to be told for years to come.
Flickering Myth Rating– Moving picture ★ ★ ★ ★ / Movie ★ ★ ★ ★
Matt Rodgers – Follow me on Twitter
Source: https://www.flickeringmyth.com/2022/04/movie-review-inu-oh-2022/
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