David’s Quick Take for the tl;dr Media Consumer:
Three Resurrected Drunkards comes across as what Nagisa Oshima might have considered a breather in the midst of his insanely prolific run of the late 1960s. Cobbled together between his more ambitious projects Death by Hanging and Diary of a Shinjuku Thief, this is inarguably a minor work that probably has a bit more prominence than it otherwise deserves due to its inclusion in Eclipse Series 21: Oshima’s Outlaw Sixties, where it holds the virtue of injecting a bit more levity into what is an otherwise thematically hefty set.
Not that Three Resurrected Drunkards should be regarded as an altogether lightweight romp. The film follows a trio of three young men, in real life members of a Japanese pop group called The Folk Crusaders, who become victims of mistaken identity when their matching Beatle-esque outfits (circa Shea Stadium ’65) are...
Three Resurrected Drunkards comes across as what Nagisa Oshima might have considered a breather in the midst of his insanely prolific run of the late 1960s. Cobbled together between his more ambitious projects Death by Hanging and Diary of a Shinjuku Thief, this is inarguably a minor work that probably has a bit more prominence than it otherwise deserves due to its inclusion in Eclipse Series 21: Oshima’s Outlaw Sixties, where it holds the virtue of injecting a bit more levity into what is an otherwise thematically hefty set.
Not that Three Resurrected Drunkards should be regarded as an altogether lightweight romp. The film follows a trio of three young men, in real life members of a Japanese pop group called The Folk Crusaders, who become victims of mistaken identity when their matching Beatle-esque outfits (circa Shea Stadium ’65) are...
- 4/13/2016
- by David Blakeslee
- CriterionCast
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