#Midareru

[ainosgarden]

from Yearning "Midareru 乱れる" (1964) dir. Mikio Naruse

starring Hideko Takamine and Yūzō Kayama

[maggiecheungs]

YEARNING || 乱れる (1964) dir. Mikio Naruse

[grusinskayas]

Yearning | 乱れる (1964) dir. Mikio Naruse

[hatsumishinogu]

Bitch na Neko wa Amakami ni Midareru

[beauty-marked-beauties]

Today's Beauty-Marked Beauty is: Touka Tsudagawa from Mama Katsu: Midareru Mama-tachi no Himitsu

[an-insignificant-flower]

Namonaki Watashi

名も無き = lit. "without a name," pre-noun adjective that can mean "anonymous," "ordinary," or—as I believe befits this song—"insignificant". Notably, 無き is an older form of ない, but while the latter functions as a complete clause, the former requires a noun follow it.

Verse 1

一雫雨を　一雫ください hitoshizuku ame wo　hitoshizuku kudasai 一雫愛を　一雫ください hitoshizuku ai wo　hitoshizuku kudasai

One drop of rain, please give me one drop One drop of love, please give me one drop

The dictionary puts 一滴 (いってき, alternatively ひとしずく) as more common than 一雫 (ひとしずく). However, the latter seems to be more literary, used for sake labels, restaurants, and a 2002 hit song by the female J-pop group, Zone.

Additionally, 雫 is distinctly a kokuji, or "country character," one of Japan's creations without a Chinese equivalent. It's purely hieroglyphic as such, literally depicting that which falls from a cloud.

Prechorus 1

名も　無い　わたしは　あなたと　出会いました namonai watashi wa　anata to deaimashita 名も　無い　わたしにも　蝶や　風や　夢が‥ namonai watashi ni mo　chou ya kaze ya yume ga...

I, who am insignificant, met you (for the first time) Even I, who am also insignificant, (the) butterflies, (the) wind, (the) dream...

Sakurai uses the older form of Namonaki in the title only, but uses the more modern form in the lyrics themselves. In the Japanese, the difference is extremely subtle, with only one phoneme changing from -ki to -i. The grammatical implication in English is far more clumsy, but worth exploring to see the difference: The title reads "Insignificant Me" while the lyrics read "I, who am insignificant,..."

The line ends with ellipses, leaving the thought unfinished, and the use of ya for "and" implying the list is only a part of all that is in the scene give the verse an impressionistic feel.

Chorus

狂い咲く　花たちよ　今は　咲き乱れよ kuruizaku hana-tachi yo　ima wa sak'mi dare yo 狂い咲く　命共　乱れ　乱れ　乱れ kuruizaku inochi domo　midare, midare, midare

Fellow flowers blooming out of season, bloom profusely now! Fellow flowers blooming out of season, together live wild, wild, wild!

I adore the use of kuruizaku here. Of course, kuruu is a familiar verb in Buck-Tick's lyrics, whether it refers to going mad with love or at the state of the world or simply "going crazy." Here it's used in a set phrase referring to off-season blooming. And as with kemono-tachi (from "Beasts of Night"), the narrator includes himself among those he is speaking to: outcasts and others who "don't fit in."

Sakimidare, another set phrase, lends itself to the imagery of endless fields of blooming flowers so thick that you can't see the green leaves beneath them, or even the peak day of cherry blossom season when the world is awash in pink.

I've used an apostrophe unconventionally here to refer to Sakurai's pronunciation. The word has five full mora (sa-ki-mi-da-re), but Sakurai sings it in four (sa-k'mi-da-re). I actually could not make it out in the album version of the song; only upon listening to the "Taiyo to Ikarosu" B-side at high volume could I hear the separate consonants distinctly fitted into one note.

As a lone verb midareru means "falling into disarray," but as a repeated call lends itself better to "lapsing into chaos," and I was tempted to choose "riot" as a command due to the character's more direct translation. However, following the previous line with the set phrase sakimidare, there is an implication that it attaches itself to inochi domo the same way, meaning a closer translation might be, "together, live exuberantly." Think Carpe diem ("Seize the day") with the raving enthusiasm of Scrooge on Christmas morning.

Verse 2

ありがとう　愛を　陽だまりの　日々を arigatou　ai wo　hidamari no hibi wo 一輪の　花を　髪飾り　君に ichirin no hana wo　kamikazari kimi ni

Thank you, for the love, for day after day in the sun For the single flower adoring your hair

Prechorus 2

名も　無い　わたしに　あなた　と　お別れ　来た namonai watashi ni　anata to o-wakare kita 名も　無い　わたしにも　赤や　黄の　夢が‥ namonai watashi ni mo　aka ya ki no yume ga...

You and I, who am insignificant, bid farewell Even I, who am insignificant, (the) red and yellow dream...

Although the lyrics imply simply that the flower speaking (perhaps the very one in the listener's hair from the previous line) was discarded, it's hard to listen to this line as one of the last lyrics in the last song presented to us on Sakurai's last recorded album.

As before, ya implies there are more colors, though red and yellow are noteworthy for the line. I don't know whether it was intentional, but it calls back the first line of "Gessekai": Aka ki iro himawari, "red, yellow sunflowers".

Instrumental Bridge Chorus Chorus

Sakurai often wrote lyrics from the point of view of a particular character in his mind, performing a role on stage. However, I am tempted to read this one assuming less use of the figurative mask. It seems very in his character to express such humility, to refer to his fans (and/or his family, as I have also suspected of other songs of his) as the source of his sunshine and objects of his gratitude, and to plead us all to live our lives to our fullest.

[smutrecommendations]

Midareru Dress ni Takeru Yokubou

[free-learner]

feb. vocab. part 二

ぼったくり ・ bottakuri ・ rip-off, unfair charging

揃える ・ そろえる ・ soroeru ・ to make uniform/even/match, to collect/gather/get together/complete, to arrange/put in order/prepare

乱れる ・ みだれる ・ midareru ・ to be disordered/disarrayed, to be discomposed/disturbed, to lapse into chaos

はぐらかす ・ hagurakasu ・ to dodge (e.g. a question), to evade

果てしない ・ はてしない ・ hateshinai ・ endless, boundless, everlasting

軽薄 ・ けいはく ・ keihaku ・ superficial, shallow, frivolous

こりごり ・ korigori ・ being fed up, bad experience, learning from a bad experience, having had enough (of something unpleasant)

下ネタ ・ しもねた ・ shimoneta ・ dirty joke, indecent topic

圧巻 ・ あっかん ・ akkan ・ highlight, best part

口直し ・ くちなおし ・ kuchinaoshi ・ removing a bad taste, cleansing one’s palate

🦋 please correct any mistake/error

[rayshippouuchiha]

Different anon but the sex with dragon and other stuff is this anthology:

Midareru Dress ni Takeru Yokubou

乱れるドレスに、猛る欲望 / Raging Lust as He Tears off My Dress

All correct just in case it's hard to find in romanji or English title

you're a blessing

[otaku-republic]

★ Ikeoji Monster to Zettai Reido Danshi vol.3 by Fumito ★ Tsubaki no Hana ga Ochiri Koro by Shimeji ★ Nekoni Naritai Tamagawa-Kun vol.2 by Touno Moto ★ Kyou, Orenchi Yotteku? Kou 3 No Natsu by Michi ★ Nidome No Koi Wa Tachi Ga Warui by Ushino ★ Yankee, Oshi to Ummei to Deau by Hirose Risa ★ Bitch Na Neko Wa Amagami Ni Midareru by Tennouji Mio ★ Amatou Yakuza to Cake-ya Baito Kimi no Hanashi vol.1 by Shimaguni

[postersdecinema]

Gymnopédies Escaldantes

(Jimunopedi ni midareru)

JP, 2016

Isao Yukisada

6/10

.

O Último Tango Japonês

Um realizador de meia idade, em crise pessoal, criativa e financeira, lança-se numa espiral destrutiva de sexo, como bálsamo para acalmar as suas ansiedades e frustrações.

Um argumento que faz lembrar O Último Tango em Paris de Bertolucci. Mas 2016 não é 1972, nem Yukisada é Bertolucci, nem Itsuji Itao tem o carisma de Marlon Brando.

Enfim, um filme evocativo de uma época e de uma estética que não são as suas, falhando por isso o impacto desejado no espectador.

Para um projecto que queria homenagear o 45° aniversário do período do roman porno, não posso deixar de constatar que fica aquém das expectativas desejáveis.

.

The Last Japanese Tango

A middle-aged director, in a personal, creative and financial crisis, launches himself into a destructive spiral of sex, as a balm to calm his anxieties and frustrations.

An argument that is reminiscent of Bertolucci's Last Tango in Paris. But 2016 is not 1972, nor is Yukisada Bertolucci, nor does Itsuji Itao have the charisma of Marlon Brando.

In short, a film evocative of an era and an aesthetic that are not his own, thus failing to have the desired impact on the viewer.

For a project that wanted to honor the 45th anniversary of the roman porno period, I can't help noticing that it falls short of desirable expectations.

[shojojidais]

[maggiecheungs]

“He—he fell off the cliff!”

[grusinskayas]

Yearning | 乱れる (1964) dir. Mikio Naruse

[certainwoman]

Yearning (1964), dir. Mikio Naruse

[365filmsbyauroranocte]

Midareru (a.k.a. Yearning) (Mikio Naruse, 1964)