The Face of Another (Hiroshi Teshigahara, 1966) DVDRip VOSE

[Takeshi_Shimura]

Tanin no kao

The Face of Another
El Rostro Ajeno



Japón - 1966 - 117'

Director y Productor
Hiroshi Teshigahara

Guión
Kôbô Abe
(a partir de su novela)

Productores Ejecutivos
Nobuyo Horiba - Kiichi Ichikawa - Tadashi Oono

Música
Tôru Takemitsu

Fotografía
Hiroshi Segawa

Montaje
Fusako Shuzui

Diseño de Producción
Kiyoshi Awazu

Dirección Artística
Arata Isozaki
Masao Yamazaki


Reparto:
Tatsuya Nakadai .... Sr. Okuyama
Machiko Kyô .... Sra. Okuyama
Mikijiro Hira .... Pssiquiatra
Kyôko Kishida .... Enfermera
Eiji Okada .... Jefe de Okuyama
Miki Irie .... Mujer de la cara desfigurada


IMDb | DVDbeaver
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Kôbô Abe
Kôbô Abe en el ISBN español
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Filmografía de su director en DXC

La traducción de los subtítulos
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Hilo del ripeo existente en FH

de la web de Eureka:

Following Woman of the Dunes [Suna no onna] in 1964, Hiroshi Teshigahara continued his collaboration with avant-garde novelist/playwright Kobo Abe and experimental composer Toru Takemitsu for The Face of Another [Tanin no kao]. Starring Tatsuya Nakadai (Yojimbo, Kagemusha) as a man "buried alive behind eyes without a face", the film addresses the illusive nature of identity and the agony of its absence.

A man (Nakadai) facially disfigured in a laboratory fire persuades his doctor to fashion him a lifelike mask modeled on a complete stranger - totally different from his own face. Shortly after the mask is made, he successfully seduces his own wife (Machiko Kyo) but becomes angry at her falling for a handsome stranger. Worrying about his looks, and the way the mask seems to influence his identity, he begins to question everything.

Takemitsu's musical score is one of his best, contrasting sweet, sad melodies with eerie, experimental motifs. Alongside Franju's Les Yeux sans visage [Eyes Without a Face], Mamoulian's Dr. Jekyll and Mr. Hyde, Whale's Frankenstein, and Freund's Mad Love, Teshigahara and Abe's The Face of Another stands proud as one of cinema's most haunting explorations of identity. The Masters of Cinema Series proudly presents the film for the first time in the West on home video.

Reseña de Strictly Film School:

Tanin no kao, 1966
[The Face of Another]

An off-camera psychiatrist (Mikijiro Hira) overseeing a processed batch of prosthetic appendages describes his fragile role of diplomatically treating - not a patient's physical imperfection - but rather, the psychological insecurity that underlies his seemingly superficial malady. The curious, fragmented shot of randomly floating, artificial body parts is subsequently reflected in an X-ray profile of a smug and embittered burn victim named Okuyama (Tatsuya Nakadai) as he recounts to the quietly receptive psychiatrist his own culpability in the fateful industrial accident that had permanently disfigured him and now estranges him from his co-workers and family. The clinically disembodied images are then commuted into the equally cold and sterile Okuyama household through a dissociating, close-up shot of a human eye that zooms out to reveal his beautiful and mannered wife (Machiko Kyô) busily occupied in her hobby of polishing gemstones as the acerbic and insecure Okuyama attempts to test her affection and fidelity with vague and allusive casual remarks and open-ended questions. Spurned by his wife after a spontaneous and awkward attempt at intimacy, Okuyama returns to his psychiatrist and agrees to participate in the testing of the doctor's latest experiment: a prosthetic mask molded from the facial characteristics of a surrogate donor. Now liberated by a sense of faceless anonymity and relieved of personal and professional entanglements, Okuyama takes up residence at a modest boarding house and begins to test the limits of his traceless identity.

Marking Hiroshi Teshigahara's third adaptation of novels by modernist author Kobo Abe, The Face of Another is a highly stylized, psychologically dense, and provocative exposition on identity, persona, freedom, and intimacy. From the opening sequences of isolated anatomy, Teshigahara establishes the fractured tone of the film's narrative. Surreal, aesthetically formalized shots of the oppressive prosthetic laboratory underscore the atemporal and geographically indeterminate nature of the universal parable. (Note the disjunctive effect of freeze-frames, muted ambient sounds, and cultural polyphony of the doctor and patient meetings at a German pub-themed bar that further contribute to a sense of existential ambiguity and pluralism). The intercutting parallel, elliptical narrative of a facially scarred young woman (Miki Irie) - whose character introduction is intriguingly accomplished through a wipe-cut (and therefore, may only exist as a figment of Okuyama's imagination) - creates, not only a pervasive sense of alienation, but also betrays the unsympathetic protagonist's internal chaos and capacity for emotional violence. Combining striking, elegantly composed visuals with innately humanist themes of connection and identity, Teshigahara composes a haunting, cautionary fairytale of masquerade and revelation, defect and vanity, impersonation and self-discovery.

© Acquarello 2003. All rights reserved.

de ibiblio.org:

Abe Kôbô (1924-1993) stands out dramatically from his contemporaries in postwar Japanese literature. His works bear no resemblence to the subjective, ultra-realistic and autobiographical style that characterizes a great deal of postwar literature in general and postwar Japanese literature in particular. The reason for this, it has become customary to point out, probably lies in his relatively unique upbringing. Abe grew up in Manchuria, or Manchukuo as the Japanese leasehold/puppet state was known at the time. As such he presumably did not develop the deep ties to such concepts as furusato (hometown) and the emperor , both of which play large roles in the works of contemporaries Mishima Yukio and Nobel laureate Oe Kenzaburo. Furthermore, Abe did not undergo formal training in literature as did so many of his contemporaries. Instead he followed in his father's footsteps, studying medicine at Tokyo Imperial University. Unlike another famous medical doctor in Japanese literature, Mori Ogai, Abe did not excel in this field, nor did it seem that he had any particular enthusiasm for a life in medicine. It is said that he was allowed to graduate only on the condition that he never practice medicine.

After the war Abe began experimenting with various radical social and artistic theories. Abe joined a small literary/artistic/philosophical group called Yoru no kai (Night Association), and soon after his introduction to its leader, philosopher Hanada Kiyoteru, Abe joined the Japanese Communist Party (along with most of the rest of Japan's intelligentsia) and began experimenting with Marxism and surrealism in his literature. Unfortunately very little from this period in Abe's career has been translated into English, but Abe's youth and idealism comes through quite clearly in what are some of his most (blackly) humorous and outspoken works.

publicada en España
por Siruela

Abe's novels, however, are probably what he is best known for in and out of Japan, despite his highly acclaimed short stories, avant-garde plays (often staged by his own theater troupe, which occupied most of his time throughout the 1970s), and his work as a photographer and sometimes composer. It was Suna no onna (Woman in the Dunes) that first brought Abe to the attention of the international community. Or, rather, it was Teshigahara Hiroshi's film adaptation of the novel that, along with a prize at the Cannes film festival, helped make Abe known abroad. As such this work is seen, rightly or wrongly, as Abe's masterpiece. Certainly it marks a sort of transition in his career. Purged from the JCP only four months prior to its publication in June of 1962, Suna no onna, while not a complete disavowal of Marxist ideology, clearly indicated a transformation of the ways in which politics and ideology would be integrated into his literature. The themes of alienation and homelessness come to the fore. It is in these novels that Abe captures the social impact of Japan's rapidly urbanizing, growth-centered corporate society on the individual. Nor is the relevance of these later novels limited only to Japan, but rather one could see these works as a discussion of the so-called postmodern condition as a whole.

capturillas




viene de dentro de...

--- Fuente ---
DVD R2 PAL
editora: Eureka!
(colección The Masters of Cinema)
país: UK

Código: Seleccionar todo

--- File Information ---

The Face of Another[DVDrip-ac3][dual_jap-comment].avi
1.45 GB (or 1,493 MB or 1,529,854 KB or 1,566,570,496 bytes)
OpenDML (AVI v2.0)

01:57:00
                                                                       
--- Video Information ---

XviD 1.1
640 x 464 (1.379:1)               
1391Kbps - 25fps - Qf0.187
B-VOP: sí, QPel, GMC: no

--- Audio Information ---

_1_ japonés
AC3 - 48000Hz - 192Kbps CBR
1 canal
_2_ audiocomentario de Tony Rayns
AC3 - 48000Hz - 192Kbps CBR
1 canal

enlace eD2k

The.Face.of.Another(DVDrip-ac3)(dual_jap-comment).avi

subtítulos

Inglés
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Español (by JM, translator)

**************************************************
ha salido otro ripeo, de 2GB y algo, y con escaneo del libreto
par grabarlo en un dvd-r hay que:
a) quitar una pista de audio
o
b) dividirlo en dos trozos
[quote="Teeninlove"]Nuevo ripeo, cortesía de Facct en KG.
Características técnicas:
[quote]Ripped from the Masters of Cinema Disc.

--- FACE_OF_ANOTHER_MOC.avi ---

File Size (in bytes): 2,214,178,816
Duration (hh:mm:ss): 01:57:01

Video Codec Name: XviD (xvid)
Video Bitrate: 2241kbps
Resolution: 704 x 512
Bits Per Pixel (QF): 0.249

Aspect Ratio: 1.375
Frames Per Second: 25.000

MPEG-4: MPEG-4
B-VOP:
N-VOP:
QPel:
GMC:
H264:

--- Audio Information ---
Audio Streams: 2
Audio Codec: 0x2000(AC3, Dolby Laboratories, Inc) AC3
Audio Sample Rate: 48000
Audio Bitrate: 192
Audio Bitrate Type: CBR
Audio Channel Count: 1[/quote]

Si quitamos el audiocomentario se puede grabar en ISO (1,99 Gb).

Unas capturas:



FACE_OF_ANOTHER_MOC.avi


Elink del libreto y los subs en inglés: Booklet and subs FACE OF ANOTHER.rar [/quote]

[hari]

muchas gracias!

me interesa muchisimo esta pelicula (sobretodo por la banda sonora)

[Ghost]

Pedazo de post

Pinchadísima. Muchas gracias, Takeshi

Saludos

[H_Delbruck]

Como ya dije en el ofr, la bajo. Gracias por compartirla y también por currarte el post.

[juanbrujo]

Pauso alguna para comenzar con ésta. Lo primero es lo primero .

Muchas gracias Takeshi

Salud - itto

[oscarriutort]

Muchas gracias!!!a la espera de tener sitio en HD para bajarla y de la sincronizacion subs, alguien se va a poner en ello?saludos

[hari]

Si, el post está muy bien

Alguien sabe si otra pelicula del mismo director, The Pitfall o algo asi, ¿ronda también por ahí? creo que es esta de la que me interesa la musica

[pickpocket]

Pinchada desde ya!!. Muchas gracias Takeshi

[bluegardenia]

En cuanto aligere el biopic que tengo en lanzamiento y rehabilite las descargas de la mula, la pincho.
Gracias Takeshi.

[alegre]

Aqui los subo a mi burrita , aunque vaya enojadita.

Pobrecita mi burrita ya no puede caminar, da unos pasos pa delante y otros pasos pa detras, arré arré mi burrita ya no te hagas de rogar que ya pontro llegaremos y te voy a dar tu máiz...

Un saludo

[Takeshi_Shimura]

Si, el post está muy bien

Alguien sabe si otra pelicula del mismo director, The Pitfall o algo asi, ¿ronda también por ahí? creo que es esta de la que me interesa la musica

Suba Vd. al mensaje inicial del hilo. Pase de largo una foto grande de un tipo vestido de momia. Despues vienen una zona estrechita con nombres de japoneses. Siga adelante. Llegamos a un área con texto en azul, al ponerse uno encima la flechita del puntero del ratón se transforma en una mano con el índice extendido. Allí es. Y pone:

Filmografía de su director en DXC

Pinche y voilá, estará en la filmografía de Hiroshi Teshigahara.

[figure8]

Como el DVD no lleva subtitulos me tendré que bajar el ripeo...

Gracias Beat.

Acojonante caratula, por cierto

[hari]

Suba Vd. al mensaje inicial del hilo. Pase de largo una foto grande de un
Filmografía de su director en DXCtipo vestido de momia. Despues vienen una zona estrechita con nombres de japoneses. Siga adelante. Llegamos a un área con texto en azul, al ponerse uno encima la flechita del puntero del ratón se transforma en una mano con el índice extendido. Allí es. Y pone:


Pinche y voilá, estará en la filmografía de Hiroshi Teshigahara.

Que vergüenza! no sabia que estaba la filmografía ya colgada. No he tenido tiempo de mirarla muy minuciosamente. Ya, ya sé, buscar antes de postear, ¿no?

Gracias, takeshi

[observator1965]

En micaso, pinchando que es gerundio

[Oldsen]

Click. Muchas gracias .

Un saludo.

[Ghost]

Un informe por aquí: 942 mb bajados / 1.37 gb subidos

La cosa va rápida

[matshita]

¿y cómo se hace para resincronizar los subtítulos?


bueno...igual me doy una vuelta por los foros de subs...¿hay algun programa especifico para hacerlo?... supongo que es alli donde beberia prguntar estas cosas...


gracias y un saludo

[Ghost]

Completa por aquí

Subidos 2.34 gb y con powershare.

Muchas gracias, Takeshi.

[Takeshi_Shimura]

Ya he ajustado línea a línea los subtítulos del dvd de Eureka! con la traducción de JM, ajustándoles el fps y quitando la parte en los subs ingleses que traduce los títulos de crédito y la canción, y dando un par de tijeretazos aquí y allá, ahora faltaría hilar más fino a ver si la sincronización encaja al 100% y dar un repaso a la traducción, ya que estos nuevos subtítulos en inglés se suponen más currados que los que había antes. ¿Algún voluntario para que le pase estos subs en español retocados y acabar el trabajo?

[racso]

Pinchada. Gracias Takeshi.