Hair
In a final act to try to convince themselves against their decision to commit double suicide, Koharu and Jihei cut each other’s hair thinking that it’s the way to their freedom. Jihei cuts his hair and calls himself a priest and Koharu cuts hers and calls herself a nun. It is a tragic scene preceding their climactic deaths, and a final attempt to hold onto life. It is important to note that hair was an important status symbol in the Japanese society and the dramatic cutting of one’s hair symbolizes a life-changing step in life.
Darkness
The film has a prevailing dark imagery, from the dark figures that are playing the role of moving the characters like puppets in a stage play, through to the scenes predominantly shot in the darkness of night. Jihei and Koharu are running away through the darkness of night, which provides shelter from the judgmental eyes, but also evokes a menacing feeling foreshadowing their ending with suicide.
Stage
The film is strongly reminiscent of a traditional Japanese stage-play. The setup of the scenes reminds of a stage, but the most predominant aspect of this imagery is kuroko, the men dressed completely in black, whose role is to move the puppets in a puppet stage play. Therefore, the characters in the film could be seen as puppets who aren’t in control of their fate.
Yomawari and Jihei and Koharu’s escape
The intense scene of Jihei and Koharu’s escape is followed along with the sound of hyoshigi, which are two wooden blocks which are used for yomawari, or night patrol, to warn the residents against potential fire due to their heating systems. At each clap of the wooden blocks Jihei opens the window to Koharu a little further, until they are finally together. This scene adds an ominous atmosphere and foreshadows the impending doom of the lovers.
