Jun (Saburo Shinoda) is a young man working for the wealthy Moriyama family, serving them with a devotion that goes beyond duty, and rigidly dedicated to his daily routine (working from exactly 9 to 5 and patrolling the property at midnight). He lives with the younger Moriyama brother, Yasushi (Shin Kishida), who works as a lawyer, and his wife Natsuko (Eiko Yanami). Also resident are Moriyama’s assistant Wada (Ryo Tamura), and the maid Fujino (Hiroko Sakurai). When Moriyama’s brother Toru (Eishin Tono) arrives their lives are thrown into tumult as the brothers scheme to sell off the family’s forests, a plan that Jun is opposed to.

Written by Toshiro Ishida, and directed by Akio Jissoji, “Poem” returns to the black and white of “This Transient Life”. With the director’s creativity again on full display, this family drama adds thematic and emotional depth to its narrative of greed and selflessness. The story is relatively straightforward, leaving the esoteric, religious and philosophical of the previous “Buddhist Trilogy” films, for a story that focusses on human psychology, and critiques modern capitalist society and class structure. However, the apparent simplicity is nevertheless powerful if you take a closer look. Jun’s obsession with time-keeping, his fixation on repeating the same roles, his ascetic diet, offer a portrayal of a modern hermit, his lifestyle more akin to a monk than a houseboy. His peculiarities are further highlighted with his love of calligraphy, and his fascination with graveyards. It is not entirely clear why he feels this way, but the constrast with the materialistic Moriyama brothers is clear.

“Poem” is the final part of Akio Jissoji’s “Buddhist Trilogy”, and continues several of the themes of those previous films. The central thrust of the narrative is the corrupting influence of modern society, the greed engendered by capitalism, and the exploitation of natural resources. Jun’s emotional plea for them not to destory the forest of their inheritance for a quick profit, that they conserve rather than obliterate the past, is both poignant and timeless. Where the previous films focussed on characters who were cynical about religion, Jun represents someone who lives his life in a monastic way, perhaps intending to achieve some form of perfection or immortality. His focus on calligraphy reflects Masao’s sculpture in “This Transient Life”, and the symbolism of the grave and death, considerations of an afterlife reflect the previous film’s discussions of this theme of our relationship with our own mortality. Similarly, we see eroticism and sex as a release, either in conflict with ideas of self-actualisation, or part of that process. The pessimism of those previous films is also evident here, as it suggests a modern generation set on a destructive course, obliterating the past, with a clear stance against the greed and short-sightedness of the brothers, the way they treat women, and their focus on their own reputations above any other concern. The final film in Jissoji’s “Buddhist Trilogy”, “Poem” simplifies much of the nuance and complexity of previous films, instead providing a powerful polemic against commercialism and materialism, that is nevertheless in keeping with the previous films in questioning what is truly important in life.

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