Kon Ichikawa’s 1963 masterpiece, one of the most dazzling and stylistically audacious Japanese films ever made, has to be seen to be believed–though in Japan, interestingly enough, it’s never been regarded as anything but a potboiler. The film was putatively made to celebrate the 300th film appearance of box-office idol Kazuo Hasegawa, and is in fact a remake of a 1938 film by Teinosuke Kinugasa that featured Hasegawa in the same parts. Ichikawa uses it as an unprecedented opportunity for unbridled stylistic play (the film’s use of ‘Scope and color is breathtaking), Shakespearean complication (Hasegawa plays two parts, one of them in drag), and a fascinating investigation into the relationship between theater and cinema. The hero is a Kabuki female impersonator out to avenge the death of his parents, and the plot proceeds somewhat like a film noir (with revelatory flashbacks), while adroitly mixing onstage and offstage action. To make the campy mixture even weirder, Ichikawa periodically uses contemporary jazz on the sound track. One can easily see here why Disney is one of Ichikawa’s favorite filmmakers, but perhaps the most remarkable aspect of this singular experiment is its demonstration that theater and film are more kissing cousins than distant relations–the more stage bound the film gets, the more cinematic it becomes. If you’ve never seen this, prepare to be stunned. In Japanese with subtitles. 114 min. A new 35-millimeter print will be shown. Gene Siskel Film Center, 164 N. State, Wednesday, February 20, 6:00, 312-846-2800.