Schwally, Das Leben nach dem Tode (The Life After Death), pp.
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According to Adolf Kamphausen, the saḳ was like a corn-bag with an opening for the head, and another for each arm, an opening being made in the garment from top to bottom.
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Friedrich Schwally (in Stade's "Zeitschrift," xi. 174) concludes that it originally was simply the loin-cloth, which is an entirely different conception from that of Kamphausen or of Grüneisen.
It was shot using Agfacolor, and the credits of the film are placed before a backdrop of painted fronds instead of the sackcloth used in Ozu's films since A Story of Floating Weeds in 1934.