After more than a decade apart, Kyoko and Juzo rekindle their romance and this time, the storyline moves to Paris in 1972. The two start off by taking a trip together and catch up about the past, focusing on sex, politics, and revolution. Kyoko seems to be on great terms with her husband as they begin to talk to Juzo and seriously begin to reconsider sex and their relationship after the two men attend a classical music festival together. Juzo on the other hand feels a bit tense, which is revealed at the end of the film.
The movie embraces European art-house aesthetics and has a rather simple plot that seeks to elaborate on the fate of the 60saÿs revolutionaries. It presents European citizens’ views through the eyes of Asians. The countless erotic scenes suggest that Nakahira might have been influenced by “Emmanuelle”. The main character rather resembles Sylvia Kristel every once in a while. However, this does not imply that “Variation” is as erotic as the French movie, but it certainly has a pinku touch to it, and is presented in a more thoughtful way than the traditional Japanese film.
Also, it follows the plot of the road movie, where the two main characters explore France, settle in cheap lodging, engage in lovemaking, socialize, and traverse Europe. The portrayal of that part of the world is yet again in a movie abashedly Asian like, which is an idealized portrayal where all embraces freedom and stands in sharp contrast to the Japanese way of living. On the one hand these characters to which the life of 1968 bore are depicted in a perpetual state with the two main characters also having that element but in varying degrees and in all likelihood the sole way out of this seems to be sex. All these somewhat cliched observations aside, the movie noticeably lacks a strong plot and is at times dragging, particularly the performance scene which is rather dragged for no reason, although there is a brief but well filmed erotic scene of people watching others.
In this film, there seem to be two major factors that explain why the revolution failed: the disconnection a particular person had from the ordinary crowd, and the latter’s lack of willingness to change as such they found these comments on the topic to be quite engaging. In another part of the movie, somewhat out of place and straightforward, they argue about the integrity of the roots, intention, and about the instigation of a revolution which is in fact rather controversial. The last part of this film, tying in with the first part, especially when it comes to Juzo’s mentality, is ingenious. It all provides sense and meaning to the whole story.
Let’s not forget Shinpei Asai’s camera work, which further delves into the European arthouse direction. One stylistic feature that stands out, is the sheer volume of close up shots on Reiko Asoo, amongst others. What I believe is a strong point though, is the way voyeurisms is woven into the story line, the old woman peering the action from the window is one of the many mediums used to portray this approach, providing a sense of how the rest of the world watches these young people (the revolutionaries as you put it).
Or rather, the way in which Kyoko eventually assumes her place appears to suggest how she has been ‘demographer’ (the rest of the world) and how Juzo has not been, which as well conveys a message concerning his fate. To be honest, there are quite a few things that I have mentioned which can be viewed differently in the context of socio political context, but all of those are for the most part overshadowed by the sexual appeal and the banality of the plot. And Michio Suwa’s editing goes in the same direction as already mentioned, leaving not very much pace, which is painfully sad in some cases when there are very trite scenes throughout the show.
In this movie, Ado Sato and Reiko Asoo give stoic performances that uphold the vibes that the movie is trying to portray and at the same time, they capture the essence of eroticism with their beauty. Their acting is on full display, however, only during the mixture of jealousy that the two actresses perform in a rather understated manner.
“ Variation” could be considered as one of the few European-like art productions that ATG has made alongside Borderless: But, even so, it is full of trend clichés, erotic sensations, unrestrained, for the majority of its disconnection. But it stands out for its beginning and end.
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