70's Kihachiro Kawamoto Animated Horror Shorts

ONI
(1972)
Overall: GOOD

This adaptation from one of the stories present in the ancient anthology collection Konjaku Monogatari was the third from stop-motion puppet animator Kihachiro Kawamoto.  Oni, (The Demon), is done somewhat in the Yamato-e painting style and utilizes horizontal sets against a black background which are then shot from an elevated position.  While still effective, Kawamoto's work would continue to grow more embellished over the years.  Here, it is more stark and not just in a visual sense.  In place of any dialog or narration, the story is explained via title cards which is more akin to silent films, with the only sound therefore being the traditional Japanese score by Seiji Tsurusawa.

DOJOJI TEMPLE
(1976)
Overall: GOOD

A more elaborately decorated work from Kihachiro Kawamoto, Dojoji Temple, (Dôjôji), was still shot in the same method as the artist's other movies, but incorporated more traditional animation and detailed sets.  A reworking of the Kabuki play Musume Dōjōji, (The Maiden of Dojo Temple), it follows a wrathful temptress who takes the form of a demon and a giant snake monster to capture a monk she becomes smitten with.  At nearly nineteen-minutes in length, the beautiful visual presentation and spectral score keep it from becoming too laborious.  Though with no dialog of any kind, more than one viewing may be necessary to fully grasp what is going on for those not familiar with the traditional tale.

KATAKU
(1979)
Overall: GOOD

Kihachiro Kawamoto's final film of the 1970s was an adaptation of the Noh play Motomezuka (The Seeker’s Mound) and it continues the animator's Bunraku-inspired work in stop-motion.  While still chasing similar themes of doomed characters undergoing supernatural occurrences, Kataku, (House of Flame), has a curious, well-meaning traveler that ends up praying for a damned maid that has suffered the guilt over her two suitor's deaths from half a century ago.  Narrated by Tetsunojo Kanz, (whose only film credit is this one), it is more conventional overall in structure.  In addition, the film is intricately designed and shows a continuing growth in Kawamoto's talents with the medium.  The puppets are more meticulous and the fusing of drawn animation is more emphasized, with the depiction of hell benefiting the most from the latter.