Inugami

Many may find this slow going, but it is beautifully shot, and compellingly strange. This kind of folk myth is not often seen on the screen, and hardly ever in such a low-key, erotic style. And there is nothing so terrible about the soundtrack, except perhaps to opera snobs who can't bear to hear Verdi put to use in such an out-of-context way. Not a great film, but above-average for this genre. The Japanese countryside is gorgeous, the atmospherics are evocative, and the actors, particularly the women, are all first rate. Throw in some fascinating scenes of paper making, and on the other hand, some beautifully framed sex scenes, and this is certainly much more watchable than many of its American equivalents.

This is a drama-fantasy about two Bonomiya families in the computer age, shunned by villagers because of the legendary curse of the Inugami (wild dog deities), supposedly borne by the women. It focuses on gentle spinster Miki Bonomiya (Yuki Amami). Her mother Tomiè (Shiho Fujimura) quietly/firmly rules the 'lower home'. She and surly/Internet-wise brother Takanao (Kazuhiro Yamaji) are strong believers of the curse. Miki and her younger sister Rika (Myu Watase) refute the curse. Takanao's oft-battered wife Sonoko (Shion Machida) and their children are innocent bystanders. Seiji Doi (Eugene Harada), from the 'main home', firmly sides with Miki.

Dramatic changes occur after a new teacher Akira Nutahara (Atsuro Watabe) meets Miki. He is entranced by her skill in fine paper-making (for calligraphy) and her placid beauty. Miki becomes suddenly youthful and sensuous as they begin a passionate affair. Villagers begin to gossip about their affair. Then, tension mounts as tragedies in the village are blamed on the curse of Inugami and long-hidden secrets, involving Miki and Takanao, are slowly revealed. The culmination is the annual ancestral Shinto rites in which Takanao decides on Miki as the human sacrifice to appease the dog deities.

Yuki Amami played the male roles in the decades-famous all-women Takarazuka Revue.

INUGAMI is an interesting yet drawn out film. Though there are many wonderful aspects to the film (location, cinematography, directing) they just don't save the film from many bouts of tedium. The most overdone aspect being the Tomie character. However, for those who do give this film a chance they will surely be treated to an above par thriller set in a quiet village virtually disconnected from the rest of the world. Here, not only does everyone know each other's name but they know their secrets as well. This concept alone is easily fun to play with and we are treated to it quite nicely as we (the viewer) learn the secrets of the village along with Akira (a school teacher, and outsider) who has just arrived in the town.

Personally, I felt the film should have omitted a few of the middle scenes of the movie involving Takanao. He had a certain mystique about him near the beginning, but with each additional scene involving him I felt a lack of interest growing. Also, I couldn't help but feel bored around every group meeting which took place in the film (of which, there are many). For some reason, it just didn't feel like they were getting anything accomplished asides from re-stating the basic purpose of the Bonomiya. These scenes were just so disinteresting, especially nearing the end.

Also, from a western point of view, the whole idea of loyalty to a certain job, no matter what the cost, seems trying at times. This is basically a problem most westerners have with many Asian films. The sense of honour and commitment seems to also be a foreign thing to North American audiences. I have watched other Asian films, less engaging than this one. While watching the other films, I found myself very interested and downright intrigued by the "honour" aspect. But here, in INUGAMI, honour is certainly not essential. Even morality is utterly useless as the depraved truth is revealed.

I really wanted to love this film, as I mentioned before there were good things going for it. However, I'm to conflicted by so many other things about the movie. This film is definitely not for everyone especially those who are attracted to the film due to it's underlying "horror" theme.

You don't see any ugly demons strolling the streets, you only see the ugliness of human beings who have steeped themselves in tradition and the past. The two things which have been responsible for the downfall of so many organizations, societies, and people.

Oh, and the music was rank!

This is a remarkable film and narrative, for a number of reasons.

First, the photography of the Japanese forests and mountains is exquisite. Some of the forest scenes, for example, are amazing in the way director Harada uses the camera, as though flying or drifting through upper branches, circling, swooping down and then around to focus on a young couple walking. Or, tracking along a pathway, coming up to large boulders, zooming up the face and then above and to look down directly upon a young man sitting on the top. Or, again, drifting through the mists of the forest, rising and falling as though traveling with the breeze. It was, for me, entrancing to watch and admire the skill of the shooting.

Then there is the soundtrack – a delightful combination of Western and Eastern pieces that suited every mood that the story attempts to convey. I didn't take note of the closing credits but there were many excerpts that were quite familiar, including some from Verdi.

And, having an interest in Japanese culture (I have taught Shotokan karate for nearly thirty years), it was also a delight to witness a lot of the process of making rice paper. I know that won't appeal to others as much as to me, but the practice is an integral part of the story also, acting as a counterpoint to the encroaching evil of modernity in the form of a planned harvesting of much of the forest to make way for the development of a golf course...

Add in now the actors, none of whom I'd seen before. Not that it mattered: they all performed their roles flawlessly, even though others might think some of the actors may have been overacting, particularly Kazurhiro Yamaji who played the belligerent husband and incestuous womanizer, Takanao. Yuki Amami who played Miki Bonomiya is just sublime as the main protagonist of this drama - one that surrounds the myth of the Dog Spirit that is a curse upon the Bonomiya family of the village of Omine. All of the village's troubles surface when the new teacher, Akira Nutahara (played by Atsuro Watabe) arrives to take up a new job at the school. He's much more than what he seems to be and unhappily for all, he falls in love with Miki, with startling and surprising results. And, in the background, lurks a local hunter who has killed 999 wild animals - and he's waiting for the right moment to bag number 1000...

It's a complex story that mixes ancient myth and ceremony, incestuous family ties, jealous and unrequited lovers, and a gradual descent into murderous horror. For those who enjoy the idea of ghosts or spirits, there is also the Dog Spirit, a loose translation of the title. Inugami, however, has a literal translation of 'god dog', which is a palindrome in English: looks and spells the same, either way. And that, I think, is curiously appropriate, considering the true nature of Miki and her mother, Tomie (played by Shiho Fuimura). So, for those who delve or dabble in Freudian psychology, this story is a treat; for others less inclined, it tends to be confusing especially if you pay little heed to the family connections. The subtitles, however, are up to scratch – but I did skip back a few times, just to make sure I was following the story okay.

Overall, however, the whole experience appears to move quite slowly, so some viewers will chomp at the bit, wondering why nothing much seems to be happening at various times. All I can say is: patience is a virtue.

My only real criticism is that the story ends ambiguously, appearing to remain rooted in fantasy, instead of psychology.

And finally, I was interested to note Harada had directed Kamikazi Taxi (1995), a thriller I saw ten years ago, now. I quite enjoyed that, as I have Inugami. The difference between the two in genre, pacing, narrative and mise-en-scene, however, is so great it amplifies the skill Harada shows as a director. I think Harada is, therefore, a director to watch (no pun intended) and monitor.

Not recommended for children of any age: the graphic sex scenes and violence are just too much for immature minds.

I recently watched the Japanese film 🇯🇵 Inugami (2001) on Shudder. The story follows a schoolteacher who relocates to a quiet town, starts a new class, and begins a romance with a local woman. His new love interest, however, comes from a family with a mysterious past-one he initially brushes off, until strange occurrences begin to unravel both around him and throughout the town. Soon, he starts to question whether the old rumors might actually be true...

Directed by Masato Harada (Gunhed), the film stars Yûki Amami (Countdown), Shiho Fujimura (Zatoichi's Cane Sword), Atsurô Watabe (The Flowers of War), and Makoto Togashi (Cure).

This is definitely a film that won't be for everyone. It's a slow burn, with an eerie atmosphere and unique story elements. The world is well built and immersive, but the pacing can drag, and there's a sense that more could-and should-be happening. On the plus side, the corpse effects are creative and the autopsy scenes are particularly imaginative. The setting, especially the family home, becomes increasingly sinister as the film progresses, and there are some genuinely unsettling moments as the mystery unfolds.

The conclusion ties the mythology and plot together in a satisfying way, though it would've been stronger with a more engaging buildup.

In conclusion, Inugami offers enough intrigue and atmosphere to keep you curious, but not quite enough action or momentum to stand out in the genre. I'd give it a 6/10 and recommend it only if you're in the mood for a moody, measured supernatural drama.