This is a fitting tribute to Edogawa Rampo, one of the greatest horror/suspense writers of the 20th century. He so keenly admired Edgar Allan Poe that he effaced his own name and personality and adopted Poe's (say "Edogawa Rampo" a few times quickly and you'll see that it is a Japanese pronunciation of the name of the great American writer). Rampo wrote so few works that it is wonderful that a film like this should be made about him, or rather, about his persona -- it is the only way that most people will be able to appreciate his deeply complex personality. (To be perfectly honest, having long ago read Rampo's "The Human Chair," and had its utterly unspeakable terribleness burned into his consciousness, this writer was GREATLY suspicious of the seats in the theater where this film was shown -- THAT is the sort of impact Rampo and his work can have on the mind!)
21 Reviews
A Beautiful Film to Watch
cheahcw10 July 2000
"The Mystery of Rampo" with its lush colors, mysterious and sensual (Michiko Hada is simply captivating) storyline, and dream-like sequences is the most beautiful film I've seen in the last 10 years. Every scene in this film could be framed and sold as an art poster. I don't want to give the impression that this movie is simply another demonstration of "form over substance," there is a story to tell here, a strange one worthy of Rampo ("the Japanese Edgar Allen Poe") himself, but what really makes this film stand out is the way it unfolds: the direction and cinematography are innovative. There may be many who fault this movie on its really weird/kinky/convoluted plot -- but this is one film I could watch over and over again.
A novelist finds that as he writes his novel the events happen in real life.
samsloan-19 January 2007
The plot centers around a Nagamochi, which is a Japanese treasure chest. A woman goes shopping while her husband, who has to stay at home because he is sick, plays hide-and-go seek with the children. He hides in the Nagamochi. The children cannot find him and finally give up. When the wife comes home, she discovers to her horror that her husband has died of suffocation in the nagamochi.
This, however, is just the plot for a novel being written by a famous writer. Just before his novel is about to be published, it is banned by the government. Since it cannot be published, he burns his work.
The next day he reads the newspaper and discovers that an incident just like that which is described in his novel has really happened. He goes to find the woman and discovers that she has the same name as the character in his novel. This must be a coincidence because he has burned his work and nobody else had ever read it.
He cannot leave this poor woman abandoned, so he goes back and writes again. As he writes page after page, the events he describes in his book happen in real life.
The movie is slow moving and surrealistic. It seems to be a dream within a dream. This will never make it on prime time, but is is a great movie with high art.
Sam Sloan
This, however, is just the plot for a novel being written by a famous writer. Just before his novel is about to be published, it is banned by the government. Since it cannot be published, he burns his work.
The next day he reads the newspaper and discovers that an incident just like that which is described in his novel has really happened. He goes to find the woman and discovers that she has the same name as the character in his novel. This must be a coincidence because he has burned his work and nobody else had ever read it.
He cannot leave this poor woman abandoned, so he goes back and writes again. As he writes page after page, the events he describes in his book happen in real life.
The movie is slow moving and surrealistic. It seems to be a dream within a dream. This will never make it on prime time, but is is a great movie with high art.
Sam Sloan
Elegance and Decadence beneath a brilliant moon
MichaelCarmichaelsCar15 March 2004
Does this film have anything to say? Maybe. It's a speculative biopic in the vein of Wim Wenders' "Hammett" or Paul Schrader's "Mishima" about the Japanese author Edogawa Rampo (Japanese for "Edgar Allan Poe", of which he was Japan's equivalent). Set in the late 1920s at the beginning of the Showa Era in Japan, the film opens with Rampo's latest book, about a woman who has murdered her husband by allowing him to suffocate in a wooden chest, being banned by Government censors. Remarkably, an item appears in the newspaper the details of which are nearly identical to those in Rampo's novel (which the real-life woman could not have read, as it was banned). Rampo seeks this woman and then devises a handsome young alter ego to track her. Midway into the film, the narrative fissions and reality merges with Rampo's imagination.
The fact that the material shared by Rampo's novel and the newspaper's story was deemed dangerous as fiction (the censor declares the story "likely to be detrimental to public morale") yet freely published as nonfiction is critical of the double standard that pardons journalism while penalizing art and literature. Rampo's need to write such a novel and then pursue this woman beyond the confines of reality, allowing her to lock his alter ego in the chest, suggests the author's mortal fear of women, as when he ultimately surrenders to her, the narrative altogether cracks and disintegrates (quite literally). In the manner that Rampo wants to be possessed by women, but only on his own terms -- that is, within the confines of his literature -- the movie is a variation on, maybe the flip side of, 'Vertigo.'
Not exactly groundbreaking stuff, but the question of whether the film has anything more to say and what it has to say is irrelevant. There's a tendency to look at a film like this and dismiss it as empty (especially considering some of the more socially 'relevant' and blistering films to come from Japan, China and Hong Kong in recent years), but that's missing the point. "The Mystery of Rampo" is unquestionably one of the most beautiful films I've seen, the cinematic equivalent of a midnight float down the Seine under a full moon. The musical score by Akira Senju is lonely, elegant, full of intrigue, awash in moonlight, and cozy like the dark, wet corners of cobblestone streets after a rainfall. The period is evoked gorgeously, with rich blue carpets and curtains of red velvet, dusty libraries and deserted streets. Most visible light sources are either streetlights, candles, or the moon. The moon is remarkably prominent here, as everything seems bathed in its light. Moonlight reflects off characters' As a sort of prologue illustrating the content of Rampo's book, the film begins with an animated segment mostly in watercolors, which casts a spell of serenity over the film. It's not quite a sinister serenity, but an unsettling one, like a pleasant nightmare. It's how you feel when you awake unexpectedly at midnight to a dark, empty house.
There's also an unforgettable segment involving a deranged marquis who, wearing women's clothing and makeup (dressed as his mother), leads the mysterious femme fatale to a projection room in his castle where he proceeds to undress her, bind her, and project a stag film onto her naked body. Everything in this second half of the film is unusually appropriate to the ambiance of this film, even the placement of the castle near the edge of a cliff.
Courtesy of cinematographer Yasushi Sasakibara and composer Akira Senju, this is an elegant, visually luxurious film, part of whose musical theme is rendered by a music box at various points.
The fact that the material shared by Rampo's novel and the newspaper's story was deemed dangerous as fiction (the censor declares the story "likely to be detrimental to public morale") yet freely published as nonfiction is critical of the double standard that pardons journalism while penalizing art and literature. Rampo's need to write such a novel and then pursue this woman beyond the confines of reality, allowing her to lock his alter ego in the chest, suggests the author's mortal fear of women, as when he ultimately surrenders to her, the narrative altogether cracks and disintegrates (quite literally). In the manner that Rampo wants to be possessed by women, but only on his own terms -- that is, within the confines of his literature -- the movie is a variation on, maybe the flip side of, 'Vertigo.'
Not exactly groundbreaking stuff, but the question of whether the film has anything more to say and what it has to say is irrelevant. There's a tendency to look at a film like this and dismiss it as empty (especially considering some of the more socially 'relevant' and blistering films to come from Japan, China and Hong Kong in recent years), but that's missing the point. "The Mystery of Rampo" is unquestionably one of the most beautiful films I've seen, the cinematic equivalent of a midnight float down the Seine under a full moon. The musical score by Akira Senju is lonely, elegant, full of intrigue, awash in moonlight, and cozy like the dark, wet corners of cobblestone streets after a rainfall. The period is evoked gorgeously, with rich blue carpets and curtains of red velvet, dusty libraries and deserted streets. Most visible light sources are either streetlights, candles, or the moon. The moon is remarkably prominent here, as everything seems bathed in its light. Moonlight reflects off characters' As a sort of prologue illustrating the content of Rampo's book, the film begins with an animated segment mostly in watercolors, which casts a spell of serenity over the film. It's not quite a sinister serenity, but an unsettling one, like a pleasant nightmare. It's how you feel when you awake unexpectedly at midnight to a dark, empty house.
There's also an unforgettable segment involving a deranged marquis who, wearing women's clothing and makeup (dressed as his mother), leads the mysterious femme fatale to a projection room in his castle where he proceeds to undress her, bind her, and project a stag film onto her naked body. Everything in this second half of the film is unusually appropriate to the ambiance of this film, even the placement of the castle near the edge of a cliff.
Courtesy of cinematographer Yasushi Sasakibara and composer Akira Senju, this is an elegant, visually luxurious film, part of whose musical theme is rendered by a music box at various points.
Surreal and beautiful
lyricsonflight23 August 2005
You know, I'm really not into symbolic movies. I don't have much patience for artsy fartsy symbolisms. Although not an action junkie, rarely do I like movies without a tight concise plot and realism. But this movie had me. I thought it wondered a bit in the beginning, but by the quarter way through I was engaged. I couldn't see where it was going but I was curious. And by the middle, I was nearly in tears. And I don't even know why. The story didn't even really make sense. I think it was the overall tone of its subtle poetry. However, some special effects are a bit cheesy.
I still don't get the story--all the metaphors, twisted plot lines and etc. But who cares? I was deeply affected. The music is phenomenal.
If you have some patience, check it out.
I still don't get the story--all the metaphors, twisted plot lines and etc. But who cares? I was deeply affected. The music is phenomenal.
If you have some patience, check it out.
out of a Floating World
laurence-128 February 2001
For the record, I gave this film a "10". It's one of my favorite films. Then again, it's not for everyone. If you're looking for a linear film that spells everything out and leaves nothing to the imagination, pass this one up. I've read criticisms that it's too disorienting and "stream of consciousness". I'm shocked at this criticism, because that's precisely what makes this film a work of art. I've seen Mystery Of Rampo half a dozen times and everytime I see it, I discover something new. There are so many metaphors and so many layers of meaning and interpretation. On one level, Shizuko is trapped by in a world that is "unreal" while Rampo is trapped in a world that is "real". And their love breaks the chains that bind them as the line between the real and the unreal disappears. All the actors are brilliant. There are no one-dimensional good or bad main characters. Michiko Hada and Naoto Tokenaka show a full range of subtle, conflicting emotions; fear, heroism, intimacy, callousness, attachment, detachment, resignation, and hope.
Michiko is hauntingly beautiful, almost other-worldly, and perfect for the part. And the difference between Naoto's character in Mystery and Shall We Dance show what an excellent actor he is. The visual metaphors, such as the increasingly elaborate doors, are brilliant. And the soundtrack is one of my favorite. It creates a magical space that envelopes the audience. While this film is incredibly beautiful and stylish, the story goes much deeper, leaving the audience to wonder over it long after the film is over.
Michiko is hauntingly beautiful, almost other-worldly, and perfect for the part. And the difference between Naoto's character in Mystery and Shall We Dance show what an excellent actor he is. The visual metaphors, such as the increasingly elaborate doors, are brilliant. And the soundtrack is one of my favorite. It creates a magical space that envelopes the audience. While this film is incredibly beautiful and stylish, the story goes much deeper, leaving the audience to wonder over it long after the film is over.
Superb - film-making at its best
mfp192 September 2002
One of the most thought-provoking, elegant, and creative films ever made. Those who fail to come to grips with its complexity will be disillusioned by it, and they will be tempted to dismiss it as dense and pretentious. I urge them to view it again and dig deeper. If they persevere, they will find an exquisite film, rich in meaning and subtle in temper. A fantastical tale that speaks directly to man's need for self-expression in a world grown callous and intolerant. This is a deeply satisfying film - a psychological mystery that provides greater riches each time it is viewed. The soundtrack is gloriously evocative and perfectly suited to the film.
Unique Visuals, Confusing Story
ccthemovieman-13 November 2006
I know I'm not the smartest, but I found this a very confusing story, something about a writer whose story is not printed but then it comes true in real life. The writer then goes to the main woman of the story to investigate.
The main redeeming quality of this film, for me, was the visuals, which were very good and sometimes very different. Almost all of the Chinese-made movies I have seen have great color to them, and this is no exception. I was so captivated by the intriguing visuals, I didn't especially care if I couldn't follow the non-sensible and slow-moving storyline.
The main redeeming quality of this film, for me, was the visuals, which were very good and sometimes very different. Almost all of the Chinese-made movies I have seen have great color to them, and this is no exception. I was so captivated by the intriguing visuals, I didn't especially care if I couldn't follow the non-sensible and slow-moving storyline.
Rampo takes film artistry to the highest level.
Dan-28125 June 1999
The plot was probably too complicated for most film critics and caused a short theatre run in most cities, but favorable word-of-mouth from videotape viewers continues to spread. I was stunned by the beauty and imagination of the cinematography and musical score. The acting was sensitive and intelligent, particularly by the sensual Michiko Hata as lead actress. More became clear about the nuances of the story during my second and third viewings. I hope that "Team Rampo" and/or others try to make more bold films like this !!!
It would have been great......had the movie a plot.......
Strider-10015 February 2004
Warning: Spoilers
This film was a huge disappointment for me. I had purchased this at the store. The plot sounded very familiar to the one in the old Hitchcock movie called "The Rope" or "Rope". Unfortunately, the nearest it got to being like that was what was written as a description on the DVD case.
The film is beautifully shot. I give the cinematography an A+, but other than that, it was just boring and senseless. The film takes place during the early stages of the Showa period in Japan. This was the time that Hirohito was beginning to build up the military and begin a bid for World Conquest.
The film concentrates on Edogawa Rampo, who is a writer. His latest book has just been banned and he is instructed to destroy the book. The story contained therein is about a woman who locks her husband up in like a Japanese Hope Chest and lets him die in there. Suddenly, a woman in the real world, has possibly duplicated this very murder with her husband and it leads Rampo to investigate because no one has ever read the story since it was banned. As he begins his investigation, he ends up falling in love with the villianess or heroine, depending on your point of view.
Rampo then yields to his imagination and begins writing a continuing story of the woman, and uses his literary alter ego, Kogoro Akechi, kind of a super detective, to investigate the woman. Now this is where the movie gets real weird. Akechi, parachutes down from a plane and lands near a mansion by the seaside. The woman, Shizuko, is played by the incredibly beautiful, Michiko Hada, who is like a prisoner to this vampire like, crossdressing weirdo that owns the estate.(Spoiler coming) The old crossdresser has a kinky twisted side in the fact he likes to tie Shizuko up at night, make her watch porn films, and rape Shizuko, while smearing his Tammy Faye Bakker makeup all over her lovely back.
Now the supposed hero, Akechi, just watches this old weirdo do this and does not lift a finger to help the girl. To me, this is a serious plot flaw. It seemed like he should have stopped this nonsense, rather then just look on like a spectator.
Then some really weird stuff happens, including Shizuko asking Akechi, to climb into another Japanese Hope Chest and die. I won't tell you what he decides, I will leave it to your imaginations.
This movie is a waste of time. It was supposedly very successful in Japan, and perhaps it has something that is appealing to Japanese culture. My opinion is that it is boring, senseless, and like the King with the Invisible Clothes, absolutely buck naked. It is suppose to be a movie, but it's not. Just a random selection of scenes.
I liked the cinematography, the costumes, and Michiko Hada. The actor who played Rampo, Naoto Takenaka, was good in his part. I just felt the movie did not have organized flow to it at all, not even the standard beginning, middle, and end.
The film is beautifully shot. I give the cinematography an A+, but other than that, it was just boring and senseless. The film takes place during the early stages of the Showa period in Japan. This was the time that Hirohito was beginning to build up the military and begin a bid for World Conquest.
The film concentrates on Edogawa Rampo, who is a writer. His latest book has just been banned and he is instructed to destroy the book. The story contained therein is about a woman who locks her husband up in like a Japanese Hope Chest and lets him die in there. Suddenly, a woman in the real world, has possibly duplicated this very murder with her husband and it leads Rampo to investigate because no one has ever read the story since it was banned. As he begins his investigation, he ends up falling in love with the villianess or heroine, depending on your point of view.
Rampo then yields to his imagination and begins writing a continuing story of the woman, and uses his literary alter ego, Kogoro Akechi, kind of a super detective, to investigate the woman. Now this is where the movie gets real weird. Akechi, parachutes down from a plane and lands near a mansion by the seaside. The woman, Shizuko, is played by the incredibly beautiful, Michiko Hada, who is like a prisoner to this vampire like, crossdressing weirdo that owns the estate.(Spoiler coming) The old crossdresser has a kinky twisted side in the fact he likes to tie Shizuko up at night, make her watch porn films, and rape Shizuko, while smearing his Tammy Faye Bakker makeup all over her lovely back.
Now the supposed hero, Akechi, just watches this old weirdo do this and does not lift a finger to help the girl. To me, this is a serious plot flaw. It seemed like he should have stopped this nonsense, rather then just look on like a spectator.
Then some really weird stuff happens, including Shizuko asking Akechi, to climb into another Japanese Hope Chest and die. I won't tell you what he decides, I will leave it to your imaginations.
This movie is a waste of time. It was supposedly very successful in Japan, and perhaps it has something that is appealing to Japanese culture. My opinion is that it is boring, senseless, and like the King with the Invisible Clothes, absolutely buck naked. It is suppose to be a movie, but it's not. Just a random selection of scenes.
I liked the cinematography, the costumes, and Michiko Hada. The actor who played Rampo, Naoto Takenaka, was good in his part. I just felt the movie did not have organized flow to it at all, not even the standard beginning, middle, and end.
Both visual and cerebral feast.
oleh_k11 February 1999
This movie I had to watch three times in two consecutive days. Not because it is overly complex (it is complex). Rather because it is a sumptuous sensual treat. They showed it only for two days at University theater and the movie has to be seen on a big screen. Love, lust, betrayal, murder, Freud, artist and society - all have found suitable place in the script. 10/10.
Beautiful, stylish, and spectacular!
Valentin-726 February 1999
Beautiful, stylish, and spectacular. It's not the way we usually use to describe mysteries. This one is an exception. Actually I saw both the original version released in Japan and the one released here in the States. The major difference between the two is the sound effect, and the cut was slightly different. As the results, the original one is more mysterious, and the latter is, ..., more beautiful. I'll highly recommend you take a look at the first one if you can find a copy and understand Japanese. Pay special attention to the sound effect and the ending. I think this is the best modern Japanese film (after the Akira Kurosawa era) you can find in America. Personally, I like the original Japanese version. The music isn't as beautiful as in American version, though. There is one final line being cut off in American version:
"Goodbye, Mr. Yokomizo."
The writer said this one last line to his publisher friend as the image disappeared. I think that is the point of the whole story, to make you not be able to tell what you just saw is for real or just a story. After all, the writer, and Yokomizo, were real people. Too bad, they cut the line off............
"Goodbye, Mr. Yokomizo."
The writer said this one last line to his publisher friend as the image disappeared. I think that is the point of the whole story, to make you not be able to tell what you just saw is for real or just a story. After all, the writer, and Yokomizo, were real people. Too bad, they cut the line off............
Japanese Finnegan's Wake puts camera's eye on dreamscape
Lucifer-922 January 1999
Many professional critics have trashed this movie as being overly complicated and sickeningly swirling. I say they can't see the forest for the trees. I can imagine literary critics complaining about Finnegan's Wake saying, "All those made up words were annoying". Rampo is a rich sumptuous film which is powerful precisely because it is non-linear. Like a dream from which one is not quite sure one has awakened this film captures the fluid multiplicity of reality. I say leave the dumbed down linear narratives to the suburban megaplex viewers. This is film making not only on a higher level. This film has created a level which brings up viewers to new heights and which beckons future film makers.
Both visual and cerebral feast.
oleh_k11 February 1999
This movie I had to watch three times in two consecutive days. Not because it is overly complex (it is complex). Rather because it is a sumptuous sensual treat. They showed it only for two days at University theater and the movie has to be seen on a big screen. Love, lust, betrayal, murder, Freud, artist and society - all have found suitable place in the script.
Artistic, mysterious, erotic, deeply romantic, exciting...this one has it all.
asiavoices17 August 2006
Warning: Spoilers
Artistic, mysterious, erotic, deeply romantic, exciting....I've run out of adjectives for this compelling portrait of modern love.
"Tale of Rampo" was based in Japan shortly before World War Two and enjoyed huge audiences in Asian and European film theaters. Yet, its first run in the USA disappointed critics and audiences, who became puzzled and even annoyed by so many twists and turns in the plot.
Since then, "Tale of Rampo" has enjoyed more and more favorable word of mouth from a growing number of those who love avant-garde films. Many, like me, may have had to watch it more than once on DVD's or at art theaters before they could completely figure out what was happening. Yet, they mostly agree that the reward was worth the effort.
Like many first-time viewers, Rampo (Naoto Takenaka, actor), the intelligent but indecisive narrator, seemed surprised and even shocked by the tale as he wrote it down, and with good reason. For example, Rampo's deranged antagonist, as portrayed so boldly and brilliantly by Mikijiro Hira, went completely into orbit.
Most viewers, however, must have immediately appreciated the inspired graphics, brilliant cinematography, and lush musical score.
Above all, nearly every scene is dominated by the glowing and compelling spirit of the romantic lead, shown so convincingly by the lovely Michiko Hada. She floats along elegantly but mysteriously until the end, when she finally explains that she was "simply hoping to be in the dream of someone she loves."
That clinched it for me. I likewise hope to see her in one of my dreams...soon.
"Tale of Rampo" was based in Japan shortly before World War Two and enjoyed huge audiences in Asian and European film theaters. Yet, its first run in the USA disappointed critics and audiences, who became puzzled and even annoyed by so many twists and turns in the plot.
Since then, "Tale of Rampo" has enjoyed more and more favorable word of mouth from a growing number of those who love avant-garde films. Many, like me, may have had to watch it more than once on DVD's or at art theaters before they could completely figure out what was happening. Yet, they mostly agree that the reward was worth the effort.
Like many first-time viewers, Rampo (Naoto Takenaka, actor), the intelligent but indecisive narrator, seemed surprised and even shocked by the tale as he wrote it down, and with good reason. For example, Rampo's deranged antagonist, as portrayed so boldly and brilliantly by Mikijiro Hira, went completely into orbit.
Most viewers, however, must have immediately appreciated the inspired graphics, brilliant cinematography, and lush musical score.
Above all, nearly every scene is dominated by the glowing and compelling spirit of the romantic lead, shown so convincingly by the lovely Michiko Hada. She floats along elegantly but mysteriously until the end, when she finally explains that she was "simply hoping to be in the dream of someone she loves."
That clinched it for me. I likewise hope to see her in one of my dreams...soon.
surreal beautiful strange
fdickson12 March 2001
This film is one of best and least linear that I have seen. It abandons any coherent plot about half way in (don't be fooled by the beginning into thinking it's a normal movie), but this doesn't mean that it is badly made. On the contrary, this is one of those rare films where the director's arty pretension actually pans out. A must see if you are interested in costuming or Japanese styles.
Visual delight...
EdF13523 February 1999
An incredibly lush film which was so beautifully shot, it's easier to remember the cinematography and musically than it is the story. A writer's work is censored by the government, but this doesn't stop his story from coming to life around him, or it's being a means of him finding love.
A great movie but not for everyone...
DropURpantz26 October 2004
This was a wonderful movie, but a bit slow in parts. The beginning tricks you to believe that its a normal movie yet the second half picks up and captivates you till the credits roll.
In all honesty I wouldn't recommend this movie to anyone expecting a lot of linear plot action. This movie is for your imagination and that is half the beauty of it. I liked this movie but i recommend watching it with a friend so you have someone to discuss it with when its over, as it can be very confusing in many (if not all) parts.
I give this movie an 8, although it could have been better. Watch it and see for yourself what I mean...
In all honesty I wouldn't recommend this movie to anyone expecting a lot of linear plot action. This movie is for your imagination and that is half the beauty of it. I liked this movie but i recommend watching it with a friend so you have someone to discuss it with when its over, as it can be very confusing in many (if not all) parts.
I give this movie an 8, although it could have been better. Watch it and see for yourself what I mean...
There's a Reason It's Called a Mystery
screaminmimi30 June 2007
If you need your endings tied up neatly, this movie will frustrate you. If you don't mind not knowing the answers at the end, that is if the questions are sufficiently compelling, this movie will haunt you. I agree it's wise to watch it more than once, especially if Japanese is not your native language. This was Michiko Hada's first movie role; she had been a super-model. I don't know if she can act, but Okuyama captured a tremendous, multifaceted performance on film, which leads me to think she can. In keeping with the plot entanglements, she is the true focus of the story, as she portrays both a real and an imagined Shizuko. What makes the mystery a mystery is not who dunnit, but where does reality leave off and imagination take over. If you can handle being unable to solve a tough puzzle, you might also like "Jacob's Ladder" for the same reason.
Visually striking and hard to forget
wavecat1311 May 2022
"The Mystery of Rampo" (not "Rampo" as IMDB lists it) is a superb, artistic Japanese mystery built around the stories of Edogawa Rampo, a popular writer who borrowed his pen name from Edgar Allan Poe. Rampo appears as a main figure in this, and he interacts with characters from (at least one of) his stories and gets involved in the narrative. This focuses on a beautiful woman who may or may not have murdered her husband by locking him in a chest. The writer Rampo, a shy man, and a rich, deranged duke both become fascinated with her - so Rampo sends his handsome hero over to the Duke's palace to investigate. It is a visually striking and engrossing film that makes me wonder why Kazuyoshi Okuyama, the writer-director, is not a bigger name in the West.
Excellent movie, great imagery
i3mk7h12 February 2000
Excellent film!
THe mystery of Rampo is about the author, Edogawa Rampo, Japans most famous mystery writier. In the movie, Rampo writes a novel which is censored about a woman who kills her husband. But later, Rampo reads in the paper that his character has come to life! What's more, he must now write a conclusion to the woman he has created, while trying not to fall in love with her. A stunningly brilliant movie, with wonderful visual effects, a film that is great even without words! A definate must see!
THe mystery of Rampo is about the author, Edogawa Rampo, Japans most famous mystery writier. In the movie, Rampo writes a novel which is censored about a woman who kills her husband. But later, Rampo reads in the paper that his character has come to life! What's more, he must now write a conclusion to the woman he has created, while trying not to fall in love with her. A stunningly brilliant movie, with wonderful visual effects, a film that is great even without words! A definate must see!
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