"Behold the snow waits to be seen"
Love Under the Crucifix was Tanaka Kinuyo’s 6th and final film she directed. Set in the late 1500’s, the film included characters based on real people, Sen no Rikyu, the legendary tea master, and Hideyoshi Toyotomi, the “Second Great Unifier.” The rift that developed between the two men played out in the forbidden love story of Rikyu’s adopted daughter Ogin and his former student Takayama Ukon.Ogin receives a marriage proposal that would be difficult to turn down. Her adopted father, Rikyu, knows that it would be unwise to make a powerful enemy but he tells Ogin he would follow her wishes. She meets with the only man she has ever loved, the stalwart and faithful Christian, Ukon, hoping he will finally confess his love for her. Because Ukon is married, they cannot be together. He would prefer she take her vows, if not, Mozuya would be a good husband. Crushed that he will not admit his feelings for her, she leaves hoping to never see him again. Fate is not that kind. A jealous husband and an even more jealous political rival will use the two for their own purposes. Even the most powerful man in the country who has had a falling out with Rikyu plans to punish the tea master through his daughter.
The Christian religion played a part in the film, as Ukon was a devout follower. I wasn’t as familiar with his harsh beliefs regarding love and remarriage. Hideyoshi began to crack down on Catholic priests and lords who were Christians believing that they would create political chaos and be a danger to him. Though Ogin was a Christian, her primary religion was Ukon. Unable to be with the man she loved, she could not simply love the one she was with. Ever faithful to Ukon, even when married to another, Ogin practiced her faith in love zealously. It was only by courting hell and death that she truly felt alive. Ukon for much of the film was unable to be as honest as Ogin was, whether due to his religious constraints or fear of the illicit passion she offered.
Arima Ineko was a powerhouse as Ogin with her volatile nature and commitment to Ukon and her family. Nakadai Tatsuya felt wasted in the role of Ukon. He often played characters with sizzling sex appeal and barely constrained madness. I could almost hear him thinking, “Don’t smolder, don’t smirk.” Ukon kept his feelings locked down tight, knowing that one day he would likely be crucified. Crucifixion wasn’t reserved for Christians, the cruel execution method was more often exercised on adulterous couples or those whose love didn’t remain within the proper societal bounds. Ukon struggled to maintain his faith and stay away from Ogin. Rikyu had no problem with Ogin following her heart, even if it caused him difficulties with the powers above him. And Ogin just wanted to be herself and be free to love the only one in her heart, even if that commitment led to death.
Love Under the Crucifix started out slow as it bounced around the political landscape. Once Tanaka settled down and focused on Ogin and her struggle to love and live, the movie came alive. The famous actress was only 53 when she directed this film, I wish that she’d directed more.
“Rather than a glorious flower in bloom, a weed blooming unknown amongst the snow, is the true embodiment of spring…the heart of tea lies in the simplicity of nature.” For Ogin, one moment of unbridled love, lifted her cold heart out of the snow and into the sun.
8 February 2025
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