Long unavailable in the U.S., director Toshio Matsumoto’s shattering,
kaleidoscopic masterpiece is one of the most subversive and intoxicating films
of the late 1960s: a headlong dive into a dazzling, unseen Tokyo night-world of
drag queen bars and fabulous divas, fueled by booze, drugs, fuzz guitars,
performance art and black mascara. No less than Stanley Kubrick cited the film
as a direct influence on his own dystopian classic A CLOCKWORK ORANGE. An
unknown club dancer at the time, transgender actor Peter (from Kurosawa’s RAN)
gives an astonishing Edie Sedgwick/Warhol superstar-like performance as hot
young thing Eddie, hostess at Bar Genet — where she’s ignited a violent
love-triangle with reigning drag queen Leda (Osamu Ogasawara) for the attentions
of club owner Gonda (played by Kurosawa regular Yoshio Tsuchiya, from SEVEN
SAMURAI and YOJIMBO).
One of Japan’s leading experimental filmmakers, Matsumoto bends and
distorts time here like Resnais in LAST YEAR AT MARIENBAD, freely mixing
documentary interviews, Brechtian film-within-a-film asides, Oedipal
premonitions of disaster, his own avant-garde shorts, and even on-screen cartoon
balloons, into a dizzying whirl of image + sound. Featuring breathtaking
black-and-white cinematography by Tatsuo Suzuki that rivals the photographs of
Robert Mapplethorpe, FUNERAL PARADE offers a frank, openly erotic and
unapologetic portrait of an underground community of drag queens.
Whether laughing with drunken businessmen, eating ice cream with her
girlfriends, or fighting in the streets with a local girl gang, Peter’s
ravishing Eddie is something to behold. “She has bad manners, all she knows is
coquetry,” complains her rival Leda – but in fact, Eddie’s bad manners are
simply being too gorgeous for this world. Her stunning presence, in bell-bottom
pants, black leather jacket and Brian Jones hair-do, is a direct threat to the
social order, both in the Bar Genet and in the streets of Tokyo. A key work of
the Japanese New Wave and of queer cinema, FUNERAL PARADE has been restored in
4k from the original 35mm camera negative and sound elements for this 2017
re-release.
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