CONFLAGRATION

Japan, 1958, 108 minutes, Black and white.
Directed by Kon Ichikawa.

Conflagration is one of the classic films made by writer-director Kon Ichikawa. He began directing films in 1946, continuing till 2006 and his death in 2008 at the age of ninety-two.

This film is based on a story by Yukio Mishima – the subject of Paul Shrader’s biographical portrait as well as the author of a number of novels which have been filmed. In fact there are twenty-seven film versions of Mishima novels – the English-speaking The Sailor Who Fell From Grace With The Sea is an exception with all the others made in Japan.

The film is set in the Temple of the Golden Pavilion. It focuses on a young monk who has burnt down the temple and the flashbacks give his life story, the indications of why he did such a thing. Many of the characters in his background are disreputable, including the head of the temple as well as the monk’s own mother. He was rebelling against the hypocrisies of society – a theme very dear to Mishima.

Ichikawa made The Burmese Harp a few years earlier – the film that is considered his classic and a perspective on World War Two and a critique of war.

1. The significance and tone of the title, the focus of the themes? The initial information about the
conflagration and its setting the tone of the flashback? The fire as fact and symbol?

2. The contribution of black and white photography, the use of wide screen, light and darkness, interiors and
Exteriors, the contrast between the old world and the new, the religious background of Japan, the sequences showing the war and the contrast with the post-war situation? The atmosphere of twentieth century Japan and its social changes especially with the focus of the war? The conflagration as a symbol of this change in fact and in attitude?

3. The blend of realism with stylized sequences? The scene of the action from the viewpoint of Mizoguebi? His sanity, his perspective on life, Japan, religion, behaviour?

4. The structural device of the use of the American detective story and police interrogation style especially
in the initial and final sequences contrasting with the flashbacks and the presentation of the Japanese way of life? The importance of Mizoguchi’s not speaking during the interrogation and our learning why not?

5. The device of having flashbacks within flashbacks? How well did the film make its transitions for the various time structures? The importance of memory? The information about the past given in dialogue and in visuals? The split focus on Mizoguchi - objectively and subjectively?


6. His background - the importance of his father and his role in the priesthood. the shrine, all that his father meant to him - the quality of his memories, his encounters with his father on the cliff of the sea. his father's death and funeral? The contrast with his mother and his antagonism towards her? Her continued reappearances her work in the temple. the pressures even at the end as regards her reputation? The temple as a symbol and a vision? The background of his memories for example the sailor and his attack with the knife, the sequences of his stammering and his violent reaction?

7. The importance of the chief priest in the plot, the facts of his behaviour, Mizoguchi’s interpretation, the
interpretation and judgement of the film makers? His friendship with Mizoguchi’s father, his receiving him to the temple? His fidelity to the memory of his friend? The contrast with the manager who was worried about finances for example in his outburst against the chief priest and his complaints about his son not being received? The chief priest and the way of life at the temple during the war - ritual, religious attitudes, prayer and contemplation?

8. The importance of the suggestions of war, the passing of the years, the various Times? The importance of
Mizoguchi’s mother’s visit and the background of the war?

9. Why did Mizoguchi and his mother clash? His not wanting her, his great hopes at the temple and his religious ambitions, her working? Her comments on her pride and her attempts to draw near to her son? His moving away from her? The pathos of her suicide for her reputation?

10. The film's presentation of religious spirit and values in the temple and an the way of life in Japan prior and during the war? The beggars and their coming and the chief priest in treatment of him? The chief priests pre-occupation with finding a successor?

11. How well did the film present the jolting transition to the post-war period? The presentation of the tourists and their coming to the temple, the American soldier and the Japanese girl and her worry about abortion and Mizoguchi’s attacking her? Cigarettes, money? The chief priest and his growing preoccupation with worldliness and possessions his interest in the cigarettes? His taking on a mistress the telephone calls, his preoccupation with her birth? The change in Japan as symbolised in the chief priest? The scenes of his speaking out of his conscience yet his inability to change eventually? The effect on Mizoguchi, on the manager and his adaptation? to the changes?

12. The film's comment on the change of values and worldliness?

13. Mizoguchi and his loneliness, the bond with his friend and then the revelation that he had died, the encounter with the cripple and his cynical attitudes and illustrating this especially in getting the girl whom he considered stuck-up to help him? The significance of their talks together, confusing Mizoguchi’s mind? How much did he understand?

14. The importance of the story of the cat and the killing of the cat – symbolism, influence on Mizoguchi’s eventual attitudes?

15. The build-up to the burning of the temple? Mizoguchi and loneliness, his dissatisfaction and dissolution with the chief priest, his not being the successor in the temple, his mother, his friend's death, the cynicism of the cripple, the subjugation of the girl? The gradual pressure to madness, the quality of his sanity? The preservation of his father's memory and visit and values? The importance of his standards and his decision cleanse by burning? The visualising of the burning and its dramatic impact at this stage of the film?

16. The contrast with the collage after the burning and his trial? The arrest, his not speaking, the immersion
into realism and reality? His inability to accept this?

17. The build-up to the ride on the train, the inevitability of his death and its pathos?

18. The apocalyptic tones of the title, the burning, the judgement and the cleansing, the need for destruction of a world and the building of a new one, symbol and madness? What was achieved by the apocalypse?