Brief introduction of snow country story

[Edit this paragraph] The novel Snow Country

[Edit this paragraph] Executive summary

Although Shimamura has learned some European dances, he is basically a playboy, living on his ancestral property and doing nothing. He came from Tokyo to the snowy Shang Yue Hot Spring Hotel, where he met a foal who betrayed his dissolute life. Komako is young and beautiful. She not only plays the three strings well, but also tries to keep a diary. Although there is a business relationship between them, Koko shows sincere feelings for Shimamura. Shimamura believes that the two are nothing more than a dew marriage, and everything in life is in vain. Komako expressed his understanding of Shimamura and told him that "come once a year and welcome his wife, so as to last forever." Shimamura came to Guo Xue three times, and stayed with Komako, who brought him food and played with him. They were intimate and obscene. Although all this is charged by time according to the geisha system, Shimamura pursues the beauty of Komako, and Komako appreciates Shimamura's generosity and knowledge. The two also expressed mutual affection and finally waved goodbye.

When Shimamura came to Guo Xue for the second time, she saw a beautiful young girl on the train. She was taking good care of a sick young man. The girl's name is Ye Zi, and the young man's name is China Southern Airlines. It was dusk, and the night outside the window fell on the snowfield. In this poetic background, the bright eyes of the leaves twinkle from time to time, which looks very beautiful and moving. Wait for a while Shimamura watched intently, and he couldn't help being fascinated. Later, Shimamura learned that Yoko was originally a member of the family of Koko masters, and Hangman was the son of Koko masters. Shimamura got wind that when Master Sanxian was alive, he planned to get Koko engaged to China Southern Airlines, and Koko became a geisha just to treat China Southern Airlines. But Koko denied this and actually had no feelings for Koko. Even Shimamura left Snow Country for the second time. When Koko was sent to the station, Yezi came to report that Koko was dead and begged Koko to go and see it, but Koko ignored it. Although Shimamura appreciates the beautiful young leaves, he did not show his love for her in several contacts after his second trip to Snow Country: before leaving Snow Country, the theater caught fire and found the leaves falling from the second floor and dying, just expressing sympathy.

To sum it up. "Snow Country" has few plots, focusing on the emotional exchange and sexual life of Shimamura and Komako in the unique local scenery of Snow Country.

[Edit this paragraph] Writing background

Kawabata Yasunari lost his parents when he was young. He experienced vicissitudes of life and apathy, developed a lonely and silent character, and adopted an indifferent attitude towards the world. For this reason, his early works, such as Izu Dancer and Scene of the Soul Festival, also contain sympathy for the lower class women and reflect some social phenomena to some extent. However, because he was deeply influenced by Japanese classical literature and Zen thoughts, he gradually divorced from reality, so that the feudal thoughts remaining in his mind not only did not weaken, but developed. The representative work "Snow Country" can basically be said to be a watershed in his ideological transformation in the early and late stages.

The Snow Country was written in 1935. Japanese imperialism occupied the northeast of China and prepared to launch a national war of aggression against China. During this period, they strengthened their rule in Japan, and the sensational proletarian literary movement was suppressed, and the opposing neo-sensualist literature, including Kawabata Yasunari's literary creation, was also affected from another side. The publication of Snow Country is enough to illustrate this harsh reality. Snow Country was originally published in various journals in the form of short stories, describing the contents of each chapter. Later, the situation became more and more sinister, and basically stopped publishing after 1937. It was not until after the war that it was slightly revised and supplemented and the final version was published. The main reason is that it did not follow the aggressive policy of the Japanese Empire and praised the war of aggression, nor did it like the People's Life Party in Kobayashi Takiji. Actively criticize and oppose the war of aggression and describe the struggle between workers and the working class. It takes Snow Country and its hot spring hotel far away from Tokyo as the background, and takes the meeting of "fifth-class geisha" (actually prostitutes) foal with the tourist island village there as the theme, showing their sexual life and sightseeing activities. The author described the posture, voice and smile of a young geisha with beautiful and lyrical brushstrokes. And skillfully use the unique scenery of the snow country to contrast it, creating a beautiful taste and realm, which makes people strongly infected. For example, the train runs on a snowy plain and begins to fall at night. However, the snowy plain has not been completely covered, and the land is still a vague white. Get on the train and go to the snow country to meet Komako's island village. I am enjoying the mysterious evening scenery outside the window. Suddenly, a vague face and a pair of bright but not very clear eyes aroused his supreme beauty, and he seemed to be conquered by an indescribable charm. Komako stayed with Shimamura all night, and in the morning, she was beautifully dressed in the mirror with black hair, which was more beautiful against the snow outside the window. Shimamura enjoys it, but feels relaxed and happy. In a trance.

1935 or so, serialized in two literary magazines, Literary Spring and Autumn Annals and Transformation.

[Edit this paragraph] Analysis of works

Kawabata Yasunari is very strict about the literary language of his works. It is said that after writing a section, he always ponders it over and over again, and often deletes most of it after revision. Therefore, although his article is quite close to spoken English, there is no verbosity at all. Concise language and accurate description have an important relationship with his careful observation and familiarity with the objects described.

In a word, Kawabata Yasunari's works are as attractive as his characters, mainly young women, which are inextricably linked with his aestheticism tendency and persistent pursuit of the so-called "beauty of Japan". Originally, a writer, since he lives in the real society, even pursuing aestheticism cannot be a dream in the world. In other words, sometimes they will find something closer to truth and beauty in the real society, such as the pure love between Izu Dancer written by Yasunari Kawabata and high school students; But many times, due to the change of world outlook and thoughts and feelings, they will regard ugliness as beauty. "Snow Country" got rid of the reality of that dark age and beautified the prostitution system left over from feudalism-the "fifth-class geisha" in the snow country hot spring hotel mixed with the clients, which could not satisfy the readers. Even Japanese imperialism is not welcome because the intoxicating relationship between men and women shown in Snow Country will kill the so-called "national will to fight".

[Edit this paragraph] Appreciation of works

"Through the county tunnel, is the snow country. Under the night sky, the earth was white and the train stopped at the signal station. " Here, Kawabata Yasunari opened the prelude of Snow Country with almost stingy and concise words. Like Shimamura, the protagonist in the book, we finally came to this quiet and cold world after a night's train ride, giving people an illusory feeling. "Snow Country" has no complicated plot or rich and profound social theme. The story is about a dance art researcher named Shimamura who went to a mountain village in the north three times before and after and fell in love with a local geisha named Komako and another girl who met by chance. The story happened and ended inadvertently in this snowy country.

According to Yasunari Kawabata's description in I'm in Beautiful Japan, Japan's Snow Country is the location of Snow Country after Vietnam War, where Liang Kuan, an ancient Zen monk, once lived. So as an experiencer, Shimamura always feels "cold and lonely":

"The light shines deeply, and the mat is cold in You Lan.

Because of the cold, the lights in the railway station have been flashing. "

In this context, the main experiencer Shimamura "became a clean one" and once felt that "the cold has been entangled and the nose is blocked". When I arrived in the cold environment of Snow Country, "I suddenly got angry and wore it to my head." The repetition of "cold silence" image symbolizes the awakening of the subject's life. This has nothing to do with Zen's search for silence and nothingness in the depths of chaotic mind. So as to explore the truth of life and the universe. As Seng Zhao said, "A truly bitter person is as pure as nothingness."

Whether it is "there is a cold wind in midsummer", "the trunk of Shimamura is the oldest tree", or even "a house with mottled snow and decayed wooden boards", Kawabata Yasunari's true colors still have objective foreign objects. Gu Zhuo's simple scenery can make the "mind" return to the original confused state, which is the natural state of harmony between man and nature, enlightenment and Zen. This is the foundation of Kawabata Yasunari's literary thought-the nothingness of Zen. He once quoted a journey to the west in the biography of Ming Hui in the West Sea to illustrate his point of view:

"Westbound mage often comes to interview, saying that the short songs I chanted are extremely unusual. Although it is based on flowers, azaleas, the moon, snow and everything, I think most of these phenomena are illusory. They cover their eyes and plug their ears. However, aren't all the poems sung true? Like a rainbow hanging in the void, colorful images appear instantly. During the day, the sky shines, and nothingness is bright again. However, vanity is a dull and colorless decoration. I am also wearing all kinds of interesting colors in this empty heart, but I have not left a trace. This kind of poem is the real Tathagata form. "

More precisely, Kawabata Yasunari tried to restore the true colors of objective foreign objects, which was the physical creation of Zen Buddhism. As the subject of human beings, the development of modern civilization has narrowed the spiritual realm. Zen is concealed by vulgarity in everyone's human nature, so we must get rid of whitewashing and return to the natural metaphor space with texture. Only in the cold and lonely Zen realm, simplicity and simplicity can make readers reach the realm and the Zen thinking mode of God, and in meditation, they will have a meditation yearning for the ontology of Zen and gradually thaw the hidden nothingness in Zita Law realm.

"At the bottom of the mirror, the scenery in the evening is changing, that is, the mirror and its reflected scenery flow like a double movie picture. The characters on the stage have nothing to do with the background, the characters are in the changeable transparency, and the scenery is in the twilight. The combination of the two depicts a symbolic world that is not this world. "

Kawabata Yasunari believes that the characters and background in the novel are not realistic, but symbolic nothingness. In the distant snow country hot spring, foal's illusory and beautiful love seems to appear in front of us. Elegant pony, a girl who loves reading novels and writes dozens of books and diaries, a geisha who practices "three ones" alone in an empty valley, a woman who voluntarily sells herself to treat a handsome young master, a lover who falls in love with a married customer ... Her bleached skin seems within reach, which also includes her distant madness every time she gets drunk, and her silence on life. When her lover island village said it was "totally useless" to keep a diary, she "casually answered Qingyin:' Yes!' At the end of the novel, "the tranquility of the snowy night is deeply moving." At this moment, she is full of pride in life. However, Komako's words make us wonder whether we have been impressed by this lofty sentiment. She said, "No matter what is recorded truthfully, even I feel embarrassed to read it myself." Yes, this is really futile. What about her future life? Her persistence in Sanxian is the loneliness she faces. Although a little idle and elegant, I still can't escape the suspicion that "this loneliness dispels sadness." Her longing for love is even more empty. When Shimamura came to Guo Xue for the first time, he felt "very clean". When he came to for the second time, he felt that he was plump and had some charm as a geisha. Shimamura experienced "meat" in the foal, but did not seek "spirit". So when Ye asked Shimamura to treat the foal well, Shimamura said, "What can I do?" Shimamura heard the echo of foal hitting the empty wall. In this clean and pure world far away from the hubbub, the author wrote: "I don't know the welcome speech of cognition, but I also want to say it loudly:" It's for nothing. "Suddenly, my heart was silent, as if I could hear the sound of silent snow, which was sensed by the girl. ..... As a result, I feel that the existence of girls is so simple and simple. This is because the existence of foal is "simple and straightforward", and it is this "simple and straightforward" that pushes foal to a more empty realm.

Even as a geisha flower name, "Komako" contains nihilistic thoughts. According to Kawabata Yasunari, foal's eye name comes from the myth of silkworm and horse in ancient China. The place where foal began to live turned out to be a silkworm. Have you forgotten your strangeness? ""Shimamura used her transparent body to imagine Foal living here like a silkworm. " Silkworm has a metaphor of self-restraint, while the myth of silkworm horse implies futility and emptiness, and Kawabata Yasunari even completely lost the name "colt".

Relatively speaking, foal corresponds to the secular, functional and physical side of the island village; The leaves are completely opposite to the traditional, poetic and spiritual aspects of the island village. Kawabata Yasunari also said that he did have a prototype in his writing, and the leaves were "invented". As soon as she appeared on the stage, her voice was "beautiful and close to sadness", which brought people auditory beauty and association, and set each other off in the window, showing an "indescribable beauty" from a unique angle. Beautiful, pure, kind and spotless. Her meticulous care for her brother, her patient service to her husband, and her persistence and loyalty in mourning for him every day are the concretization of her innocent character. However, the strange charm and irresistible light of the leaves made Shimamura "ignite the attachment to the pony." Freud said, "The more frivolous and dissolute a woman is, the crazier a man is." . Falling in love with this kind of woman often makes them lose their souls and cannot extricate themselves. ..... but once in love, ask them to be loyal to themselves. "Yoko is the person who fell in love with Komako in Shimamura, and it is the embodiment of the author's admiration for ideal women and the dislocation of physiological orientation. The image of leaves is beautiful nothingness. So at the end of the novel, when the mountain of Shimamura was in trouble again, the author arranged an unexpected fire, and the leaves were killed in the fire. Shimamura did not show the grief he deserved. On the contrary, he got spiritual sublimation and spiritual understanding from the death of Ye Zi. He felt that the death of the leaf was as magnificent as the Milky Way. It was just that her "inner life was changing" and the leaf would be free because of "losing life". "In the sacred sea of fire, the leaves transcend the foal's level of" some things are difficult to figure out "and transcend the body. When the foal held the leaf to her chest, "is she holding her sacrifice or punishing her?" "At that time, foal and leaves were destroyed at the same time, so the novel came to an abrupt end, and all kinds of images were hidden in subjective sadness and complete nothingness.

[Edit this paragraph] Stroke characteristics

The nihility thought in Snow Country has penetrated deeply into the Japanese classical literature tradition, and it is an "oriental" nihility. Although Chuan Kangcheng was dissatisfied with the present situation of the literary world when he first entered the literary world, he once launched a "new feeling movement" with Yoko Hiroshi and others, trying to create a brand-new feeling world by western modernist methods such as Dadaism and Expressionism, without paying attention to Japanese literary tradition. He once "tried to deny it and rule it out." However, after middle age, Kawabata Yasunari found himself "never experienced the sadness and distress of western style, and never saw the nothingness and decadence of western style in Japan". He began to move closer to tradition. When writing Snow Country, in order to write the beauty that does not exist in this world, he can only seek creative inspiration from Japanese traditional culture.

[Edit this paragraph] The historical origin of the work

In the long history, Japanese culture, based on "truth", independently generated the special character of "mourning", and then formed the traditional cultural spirit of romantic mourning, mysterious emptiness, elegance and loneliness. Murasaki shikibu has made great contributions to the development of mourning literature. In the Tale of Genji, from simple sigh to complex emotion, she deepened the subject's feelings, dominated the literary materials with reason, and enriched the content of the story, including appreciation of love, resonance, sympathy, pity, sadness and other meanings. Moreover, the object of emotion transcends people and things, and it extends to a social world, which makes it ideological. In Haruki Murakami's view, there are three levels of mourning for things: the first level is touching people, and the mourning for men and women is the most prominent; The second layer is touching the world, which runs through the singing of human feelings, including world events; The third layer is meditation, which touches natural objects, especially the impermanence brought by seasons, that is, the heart of natural beauty. The nihility shown by Yasunari Kawabata in Snow Country is the same as the grief in Tale of Genji. The first layer of mourning is touching people. Especially the sadness of the relationship between men and women. This is reflected in the creative motivation of Snow Country. Kawabata Yasunari once said: "I wrote Dancer of Izu and Snow Country with gratitude for love. This performance was very simple in "The Dancer of Izu", but it went a little deeper and made a painful performance in Snow Country. " The tradition of Japanese classical literature is to express sad thoughts from the love between men and women. In the snow country, Komako really fell in love with Shimamura and couldn't help it. Shimamura clearly knows that Komako is infatuated with him, but thinks that Komako's pursuit of love and even her survival itself is futile. Sadly, Shimamura lived in Komako all her life, and the girl who loved for love drifted in the sad sea, and her heart was soaked with bitterness. He fell in love with the leaves, which were beyond his reach, and this sense of nothingness was connected with the sorrow of things. The second layer of mourning is touching the world. The whole work of Snow Country takes place in a remote village, which seems to have little connection with reality. However, in connection with the creative background of this work, it is found that when Yasunari Kawabata wrote Snow Country, Japanese militarism was waging a crazy war of aggression. Kawabata Yasunari did not reflect the war below, but skillfully expressed his views through the artistic image of combining reality with reality. As Japanese critic Hideki Shimazaki said, "Yasunari Kawabata is a passive resistance to militarism, and Snow Country is an example." Kawabata Yasunari abstracted reality, integrated the nihilistic world into the human world, suggesting that life is futile. The third layer of mourning for things is the touching of natural things. Since ancient times, Japanese writers have taken nature as their friend and time as their companion, and they know the heart of nature, that is, the spirituality of nature. They found beauty in nature and then created the beauty of literature. Snow country is white under the night sky, and there are white flowers and fir trees on the mountain. In the snow country, moonlight is also unique. "Moonlight is the only scenery at the end of the Lantern Festival. Although the moonlight disappears faintly, it has an endless aftertaste, which can't help but make people feel chilly in winter nights. " "Ying Ying Hao Yue, deeply photographed, illuminates even the concave and convex lines in the foal's ears." The descriptions of these scenes are saturated with Shimamura's subjective feelings, revealing a touch of sadness, which is connected with the sorrow of things. Mourning for things depends not on intuition, but on emotion and imagination to feel nature. When enjoying the natural scenery, there is a subtle poetic love sadness, including impermanent sadness and impermanent beauty.

Japanese traditional culture deduces emptiness and mystery through the secularization of Zen in Kamakura era, that is, it emphasizes the discovery of completeness and purity from the realm of nothingness, which can be described as "everything in nothingness" In peacetime, idleness and silence are separated from the more emotional emptiness with mystery as the theme to express distress, showing the characteristics of elegance as the keynote and expressing loneliness with more emotional feelings. Different from mourning for things, people do not indulge in mourning and sympathy, but let people constantly appreciate their unhappy loneliness, a kind of spiritual "silence." Yasunari Kawabata also said: "Elegance means discovering the beauty of existence, feeling the beauty that has been discovered, and creating the beauty that has been felt." In Snow Country, Yasunari Kawabata tirelessly describes snowy nights, sunsets and even the death of leaves, and the authors all show the appreciative emptiness of "galaxy influx psychology". As Kawabata Yasunari lamented in Pillow Grass: "The past is as white as smoke". In his eyes, the ultimate emptiness is the real beauty, and we need to feel it. This feeling and personality is the inheritance and development of Kawabata Yasunari's pair of leisure and silence.

In a word, Kawabata Yasunari showed social life with his nihilistic true colors. In Snow Country, Yasunari Kawabata transcends secular moral norms, shows events in the dark, creates an illusory beauty, and transcends the absolute realm of realistic beauty. He is looking at the spiritual realm where particles are invisible.

[Edit this paragraph] Artistic features

Chuanduan's novels have caused mixed comments on ideological content, but his "superb skills" are recognized. Snow country is representative. He combined some creative techniques of western modernism with Japan's inherent literary tradition, found a new way in characterization and plot structure, and made contributions to the development of Japanese literature and world literature. What I want to mention here is Kawabata Yasunari's writing style: his works give people a strong sense of reality, surpassing many writers, even Balzac, and almost equal to lev tolstoy, and the characters in his works are not necessarily prominent except the protagonist, so some critics think this is the failure of his works. You know, a painting should have a theme and background, and an article should also be divided into primary and secondary. Secondary characters exist to set off the main characters' personalities. At this point, the Sichuan section is handled properly, which shows his in-depth grasp of the essence of western literature expression. From this point of view, it seems that Sichuan Duan can be classified as an "expressionist" writer, because he emphasizes that novels should be lyrical, lyrical, and feelings should be integrated into poems. Specific performance for the following three characteristics:

First, Kawabata Yasunari inherited the tradition of attaching importance to the psychological description of characters in Japanese classical literature, and he has his own uniqueness in describing the psychological activities of characters delicately. In Snow Country, he skillfully used the unique psychological description method of free association to put the image of leaves in Shimamura's mind, which strengthened and beautified the image of leaves in his logic, thus subtly reflecting Shimamura's own character and quality.

Secondly, in terms of structure, it draws lessons from the western "stream of consciousness" creative technique, breaks through the coherence of time and space, and mainly starts the narrative with the development of characters' thoughts and feelings or the author's creative needs as a clue. "Snow Country" is basically written according to the chronological order of events, and some parts unfold stories and plots through the free association of Shimamura, thus appropriately breaking through the chronological order of events and forming a certain leap in content. This makes the work avoid straightforward and plain problems, thus making the work ups and downs.

Thirdly, the work clearly embodies the "new sensation school" which advocates taking pure personal sensory feelings as the starting point and grasping the characteristics of things by intuition. For example, at the end of Snow Country, it describes a love story in which leaves gave their lives to save children in a silkworm house fire. Intuitively, it is both sad and beautiful. In Shimamura's eyes, fire is full of poetry: white snow on the ground, brilliant galaxy in the sky, sparks flying between heaven and earth, and the body of leaves floating from upstairs ... In Shimamura's mind, it can also be said that although the leaves are still alive in the author's mind, her death is only "the deformation of inner life and the process of that change". From the artistic effect, this description seems to make the unrealistic beauty of leaves finally completed in the author's intuition.

[Edit this paragraph] Movie and TV series version

TV plays

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1962- program name: シリーズズズ "Snow Country" (7 episodes)

Play: TBS series

Starring: Junko Ikeuchi, Akira Yamanouchi, Kishi Nobusuke and Akie Abe.

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1970- Program Name: Long Snow Country (1 episode)

Play: NHK

Starring: Tamao Nakamura, Takahiro Tamura, Sakai Sansuke, etc.

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1973- Program Name: Snow Country (4 episodes)

Play: フジテレビ series

Starring: Naoto Ōtani, Takashi Yamaguchi, San Pu Gong Zhen, Daijir Harada.

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1980- Program Name: Mu Yao ゴールデンドラママのとりに𞈃に.

Play: Japan テレビ series

Starring: Keiko Matsuzaka, Takao Kataoka, Kimie Shingyô Ji, Masami Horiuchi, Asao Uchida, etc.

Narrator: Hisaya Morishige.

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1989- program name: ドラマスペシャル "Snow Country" (one episode)

Play: Asahi series

Starring: YûKo Kotegawa, Takeshi Kaga, Narimi Arimori, Yasuko Tomita, etc

Movie edition

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1957- "Snow Country"

Production: Dongbao

Director: An Tian Kojiro

Starring: Ikebe Ryou, Keiko Kishi, Eight Thousand KUSANAGI, Hisaya Morishige, Daisuke Katô, Phuket, Etsuko Ichihara, etc.

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1965- "Snow Country"

Production: loose bamboo,

Director: Hideo Ôba

Starring: Kimura Takako, Haruko Murakami, Hayakawa, Liu, etc.

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The' 65 Film Snow Country

basic document

Director:

Hideo Ôba Hideo? bachelor of arts

Starring:

Shima Iwashita, Shima Iwashita

Fengzi Bandai

Chiye Kaoko ...

Country/Region: Japan

Dialogue language: Japanese

Issuing company: Matsuzaka Huaying ...

Release date: 1969 March, USA

More foreign books:

Snow country

..... United States of America

Type: drawing

Length: 1 13 minutes

loan

Director:

Hideo Ôba Hideo? bachelor of arts

Screenwriter Screenwriter:

Yasunari Kawabata, Yasunari Kawabata, Yasunari ... The story is told by Jigu

Hideo Ôba Hideo? bachelor of arts

Yoshisuke Saito

Actor actor:

Shima Iwashita Shima Iwashita ... Komako.

Fengzi Bandai ... landlady

Chiyokako ... Kikuyu.

Takanobu Hozumi ... drunken guests.

Kaneko Iwasaki ... Mrs Shimamura.

Mariko Kaga ... Joko.

Ko Kimura Ko Kimura Island Village

Qingchuan Hongzi Qingchuan Hongzi ... The hostess of the geisha house.

Naito Takemi Takeshi Junnai? ..... Koizumi

Chieko Naniwa ... Masseuse.

Yujin Chengdao ... Yukio Hans Vorarlberna

Kyomi Sakura ... Kintaro

Mutsuko Sakura ... Maid.

Sadako Sawamura ... Dance teacher.

Sugawara Dojo ... Komako's patron.

Shinichi Yanagisawa ... Banto

Producer producer:

Within Zuoshishan ..... Producer

Original music:

Yamamoto Naozumi

Photographic film y:

Ichiro Narushima, Ichiro Narishima

Art direction:

Inko Yoshino

Production group company

Production company:

Matsutake Film Company [Japan]

Issuing company:

Matsutake Film Company [Japan] ... (1969) (USA) (subtitles)

The' 57 film Snow Country

basic document

Director:

Shirô Toyoda Hill? Toyota

Starring:

Ikebe Ryou

Daisuke Katô Jing Daole Kate?

Keiko Kishi Keiko Kishi ...

Country/Region: Japan

Dialogue language: Japanese

Issuing company: Dong Bang International Company. ...

Release date: 65438+May 09, France ...

Type: drawing

Length: 120 minutes

loan

Director:

Shirô Toyoda Hill? Toyota

Screenwriter Screenwriter:

Kawabata Yasunari Kawabata Yasunari Yasunari ...

Ba Zhu Li Xiong tai mei junfu

Actor actor:

Ikebe Ryou Island Village

Daisuke Katô Jing Daole Kate?

Keiko Kishi Keiko Kishi ... Komako.

Akira Kubo

Hisaya Morishige Hisaya Morishige ... Yukio Hans Vorarlberna.

Chieko Naniwa ... Maid foreman.

Tanakamaru Xiong ... Porter.

8,000 KUSANAGI Kaoru Yachigusa ... Joko.

Producer producer:

Icil? Sat？ ..... producer

Original music:

Dan lkuma

Photographic film y:

Abe Chunchun

Clip movie editor:

Koichi Iwashita

Artistic director, production designer:

Kisaku Ito

Sonocheng

Production group company

Production company:

Dong Bang International Company [USA]

Issuing company:

Dong Bang International Company [USA] (1966) (USA) (with subtitles) /( 197 1) (USA) (with subtitles)

Other companies:

Dong Bang Studio [Japan] ... Sound Stage