Inochi bô ni furô

Shintaro Katsu and Tatsuya Nakadai are without a doubt two of my favourite Japanese actors, to the point where I'm often happy to watch either of them in anything, so to see them both in the same movie, and have that movie be directed by Kobayashi, was a treat.

That being said: this is pretty mid-tier Kobayashi, so it never quite reaches the heights of Harakiri, The Human Condition, Kwaidan, or even Samurai Rebellion. He was at his best in the late 50s and 60s, and Inn of Evil definitely feels like it was made about a decade before its actual year of release.

But mid-tier Kobayashi still makes for a good watch, and while the plot is slow when it is there and for some stretches of the movie isn't really there, the visuals, acting, and overall tense atmosphere do a lot to make up for that, making this a film that's easy to recommend to Kobayashi fans already familiar with the aforementioned films.

The film begins in feudal Japan with a new police officer by the name of "Kaneko" (Shigeru Koyama) discussing the smuggling trade with another police official named "Okajima" (Ichiro Nakatani) with one particular operation at the forefront of their concern--an inhospitable inn located on a small island in a river which can only be accessed by small boats or a rickety old bridge connecting it to the mainland. But it's the clientele which makes this inn so dangerous as its regular patrons are an odd assortment of cutthroats, thieves and murderers who are extremely hostile to visitors. To that effect, the police want to close it down. The problem, however, is that this inn is protected by a rich and powerful government official and, as a result, they have to be extremely careful. Now, rather than reveal any more, I will just say that I enjoyed this movie due to its in-depth plot, good acting and solid character development. Admittedly, I would have preferred a bit more action or suspense here and there, but even so, I thought this was an entertaining film and I have rated it accordingly. Above average.

One surefire way for a film to grab my attention and keep me invested is to layer on heavy atmosphere. We see this predominantly in horror, and John Carpenter is a foremost example, but it's just as possible and admirable in any genre. To my great pleasure, 'Inn of evil' is positively dripping with it. A fierce current of dark, seedy tension cuts through this picture nearly right from the start, and as we've seen elsewhere and otherwise in the oeuvre of Kobayashi Masaki, the success isn't so much about steady infusion as judicious, patient application. The score of composer extraordinaire Takemitsu Toru definitely carries some of that weight with its carefully laid-in thundering percussion and somewhat discordant high strings and woodwinds, and I would expect no less from the man. Screenwriter Miyazaki Kyoko provides some foundation with his characters, scene writing, and dialogue, certainly, and Kobayashi's direction is as deliciously deliberate and painstaking as it ever has been at his best, to say nothing of some keen use of lighting. Yet in this instance I rather think it's the acting that arguably does so much to foster that atmosphere, not least star Nakadai Tatsuya. He's taken on no few other roles that were relatively straight, or even lighthearted, but he's also very capable of summoning a ferocious spirit and gravity - recognized even in just his facial expressions, or his eyes alone - that's almost frightening. At some points in Kobayashi's 'The human condition' Nakadai brought to mind Mifune Toshiro, and if that's not a high compliment then I don't know what is; here, too, there's an intensity to his acting that's particularly electrifying, and between that building charge and the contributions of all others, even within the first twenty minutes or so 'Inn of evil' feels like it's ready to explode.

By this alone the feature had me spellbound pretty much from the get-go, and I think it's safe to say that this easily counts among Kobayashi's more worthy works. In every capacity it's shaped with utmost skill, intelligence, care, and a mind for detail, and from top to bottom it's a real pleasure as a cinephile. From the use of light and shadow, to shrewd angles, framing, and blocking, the title further boasts a marvelous sense of artistry that's especially reflected in Kobayashi's direction, and in the crisp, vivid, smart cinematography of Okazaki Kozo. This is to say nothing of the pristine audio that allows every note, word, and sound to ring out; terrific filming locations, or sharp production design, art direction, costume design, and hair and makeup. Where stunts, choreography, and practical effects are employed they're impactful and exciting, even as they come up relatively infrequently, just as with the filmmaker's other jidaigeki like 'Harakiri' and 'Samurai rebellion.' And while Nakadai unmistakably stands out as cold, violent Sadahichi, his fellow cast members all have an opportunity to stand out at one time or another, and some more than others: Katsu Shintaro as the drunken but sage unnamed visitor; Yamamoto Kei as beleaguered yet passionate Tomijio; Kurihara Komaki as kindhearted, innocent Omitsu; and so on. In every regard the movie is splendidly well made, meeting all the high standards we anticipate of both the genre at large and contemporary fare.

Meanwhile, I claim no familiarity with Yamamoto Shugoro's novel, but Miyazaki's adapted screenplay is a minor treasure unto itself. As the tale predominantly takes place within a single location it quite comes across as something that could be adapted for the stage, and this notion is reinforced by the nature of the storytelling. It's a tad less focused than I anticipated, not by way of being deficient, but in the sense that the substance herein is a little less about a tight, discrete course of events and a little more of a broader character drama, a tableau in which we see that there is much more to these figures than first meets the eye. The characters are written with welcome complexity that shows more and more as time goes by, and if anything I actually wish 'Inn of evil' were longer so its characters could have received even more attention. With this well in mind the dialogue is gratifyingly thoughtful, and the scene writing unexpectedly varied and dynamic even as the overall tone is kind of harsh and dreary. And divested as it sort of is among its characters, the story is firmly compelling as we explore the complicated people that call the Easy Tavern home, and the sorry paths their lives took that led them to this station - condemned by society for the road they walk, a road that was forced in the first place by the circumstances of that unjust, unequal, uncaring society. For all their criminality there is yet a spark of virtue in these smugglers, a stark contrast to the monolith of the outward order and structure of the culture around them, and the conflicts that result are low-key fascinating.

Just as with Kobayashi's other films of a similarly strident, grandiose nature, all this culminates in an ugly, thrilling, bloody, captivating climax that pointedly reinforces all the ideas and themes on hand while allowing the supreme craftsmanship of all contributors to shine gloriously. It's altogether stunning, frankly, an exquisite finish and a capstone to a picture that's much more sophisticated than it may appear from the outside looking in. Though it's not as well known as Kobayashi's most esteemed productions, I'd have no qualms placing it side by side with them as one of his best, for it bears all the same qualities, and if anything in only a slightly different configuration - dark and brooding as that character drama is proliferate in a jidaigeki crime flick. With stellar writing, direction, and acting, alongside all the tremendous work of those behind the scenes, this is a feature that's both intellectually stimulating and easy on the eyes, invigorating and very measured in its pacing, and at length all the pieces come together perfectly for a viewing experience that's downright entrancing. I have high expectations of Kobayashi, and he has stunned once again; as far as I'm concerned this is a riveting tour de force, a masterpiece that rather demands viewership. It won't appeal to all comers, and it's not a movie for those seeking instant gratification, yet for anyone receptive to those works that unfold in their own time, the profit is a brilliant, highly satisfying, deeply rewarding title that deserves far more recognition. I adore 'Inn of evil,' and I'm pleased to give it my very high, hearty, and enthusiastic recommendation!

A black and white film from a time when most Japanese productions were color although it would be very hard to imagine this film in color. An obscure offering from a director who is known for two of the best samurai films ever, Seppuku and Samurai Rebellion. He also made the seminal Japanese ghost film, Kwaidan.

Set in feudal Japan, a new police officer and his assistant are planning to take down a smuggling ring operated out of an inn on an island in a city criss-crossed with moats. No one dares enter the inn as only certain criminals are allowed in. Inside the the inn isn't a raucous non-stop party you might expect but a quiet, moody place inhabited by a small band of cynical criminals. The leader/owner of the inn is an older man assisted by his 18 year old daughter. Enter two of the criminals, one nick-named the "Disinterested" is played by Tatsuya Nakadai. The other, named the "Living Buddha", has brought in a badly beaten young man he just rescued from an inn on the mainland. The fellow gangsters are unsure of bringing in the unconscious man but the leader accepts the Living Buddha's act of mercy. Suddenly a decrepit drunk, played by Shintaro Katsu, shambles in demanding saké. They throw him out but the drunk is persistent and returns. The leader also allows him to stay. Cared for by the innkeeper's daughter and the "Living Buddha", the young man recovers and they learn that he stole money to buy back his girlfriend who was kidnapped into prostitution. Unfortunately he lost the money to a pickpocket while in an inn hence the beating. Meanwhile a representative for a rich family in the city arrives and tempts the gang with a job smuggling forbidden Dutch goods into the city. The gang has had bad experiences with this family before and they refuse. As time goes by the presence of the earnest young man starts to unravel the tough exteriors of the gang and they begin to want to help him rescue his girlfriend. And so the story unfolds.

A tour-de-force of lighting and black and white cinematography. The pacing is deliberate and the story revolves around the characters instead of action. The movie leaves the confines of the inn only a few times. The ensemble cast is superb with the lead Tatsuya Nakadai delivering his usual tormented soul. The going is a little slow during the second half-hour but it picks up and holds for the rest of the film. The action finally arrives at the end and it's well done.

Recommended.

I've liked all the other Kobayashi films I've seen before - Harakiri, Kwaidan, Samurai Rebellion and the Human Condition trilogy - but this one just never seemed to take off. A bunch of uninteresting and unlikeable lowlifes sit around a dimly lit tavern and steadfastly do all they can to not make us care for any of them. One gets the feeling the film could have turned out a lot more like, say, Reservoir Dogs, if only the dialogue was at all entertaining or thought-provoking. But it's not. The one glimmer of interest occurs with the attempted murder of the bar drunk, but not even that adds up to all that much, and the only even vaguely memorable moment visually is the bit where people with lanterns charge around in the dark at the end. A real disappointment all round.