Kiga kaikyô

If you study Japanese, you will sooner or later read a procedural mystery novel such as the one this film was adapted from, because their narrative is matter-of-fact observation, and the mystery evolves through a sequence of events - perfect to learn the language. Many movies have been based on these but are largely unknown in the West, because these films do not conform to our expectations of police procedural drama.

The violence is toned down, but comes as an element of shock nevertheless, because the film takes a long time to establish its protagonists - a skill Uchida had honed in a career of almost 50 years. While few of his prewar social dramas survive, and most of his postwar samurai epics are glaringly violent and experimental, this three-hour epic completely focuses on characterization, which has a strong immersive effect. The story is hardly noteworthy, which seems to irritate a few reviewers and won't work with everyone. But it's hard not to be enthralled by Sachiko Hidari's pure hearted yet masochistic prostitute, and Rentarô Mikuni's brooding fugitive meandering between innocence and brutality. Comedian Junzaburô Ban completes the trio of leads difficult to forget as the ill investigator haunted by an unsolved case. It also features a rather young Ken Takakura just before his break to stardom with "Abashiri Prison" as a novice cop.

What makes the three hours worth sitting through and makes this Uchida's undisputed masterpiece is the ending. It is not entirely unexpected but the way it is executed is truly unforgettable. Definitely required viewing for those interested in the Japanese psyche and slow, careful character establishment.

Sachiko Hidari ("Yae") is great in this film as the young geisha who shelters "Inukai" (Rentarô Mikuni) from a storm one night. Next morning he leaves her quite a sum of money - one that enables her to change her life, pay her debts - all whilst he disappears. That storm was actually a tornado that sank a local ferry boat. During that investigation, two unknown bodies are identified - and they are soon tied in with a fire that largely destroyed a local village where a robbery had taken place. Where had the money gone? Who killed the men? Many years later, "Yae" spots a photograph in a newspaper that she thinks might be her long lost benefactor and sets out to say thanks - with tragic consequences. It is a long film this, over 3 hours, but the clever - almost internecine - fashion in which the old and new stories are married together; the police investigations and the characterisations are carefully and fully crafted leaves us with quite a complex crime thriller. Now, sadly, what makes the thriller work so well is also what ruined the ending for me. It is flawed in so many ways as to make me want to shout at the screen. It's not that the ending itself is wrong, it is that the police procedures (remembering that there was little science involved in the process) are all just to convenient - far fetched, even. Still, this is a strongly paced, beautifully photographed piece of story-telling cinema that runs parallel narratives well and cohesively.

This just ran at MoMA's extraordinary survey of films from the Japan Film Institute, and it was one of the best in the series. A real eye opener--previous commenters nailed it. Definitely makes you want to explore the director's other work. Fits in that uniquely Japanese genre of the whodunnit where the process of detection requires travel throughout the country and specifics of local cultures and habits--so the travelogue is half the fascination. Getting a young Ken Takakura plus Rentaro Mikuni in the same picture is extra added bonus. If you like later films of this type such as *Castle of Sand* or *Vengeance Is Mine*, you'll like this one.

Although very different from Tomo Ushida's other late films, with its hand-held cameras, fluid 'noir' cinematography and realistic style, this is one of his unquestioned masterpieces, on a level with any of his post-war work. The acting is superlative - especially from Sachiko Hidari as the cheap and touchingly simple prostitute unexpectedly caught up in somebody else's drama - the narrative is beautifully paced, and the film fully justifies its three hours' length.

Without being one of those Hollywood-style "message" cop-jobs, or anything like Kurosawa's flimsy imitations of same (he is beloved in the States because his films are consciously in their - comparatively limited - transatlantic style) Ushida's film is a compelling thriller, with the inexorable movement of a Greek tragedy such as 'Oedipus'. It is also a deeply absorbing meditation on guilt, retribution, poverty - and most surprisingly, what we might call "the wages of kindness".

This is not some silly procedural for infants, anymore than Sophocles's drama; but it is a great film, for anyone who cares to respect a master of the medium, and gives some thought to what they are watching. (The DVD available from DVDLady is very watchable, taken from an excellent French print, with good English subtitles.)

Perhaps "Kiga kaikyo" (Tomu Uchida, 1963), also known as "Fugitive from the Past" or "Strait of Hunger" (the original japanese title), is the most underrated japanese film in western audience. It's incredible to find that it has only 5 votes on IMDb (including mine).

"Strait of Hunger" is a dark, twisted crime drama, yet remains subtle emotion and social criticism themes inside. The characters are complex and intriguing, and the view angle of 1950s Japanese society is wide and enlightened with an epical story telling. The black and white cinematography is astoundingly fabulous, especially the billowy ocean under the hurricane, which gives the audience indelible impression. Tomu Uchida is one of the greatest film makers (if not the greatest) living in Japan and this film is a timeless masterpiece. It is my all time #1 japanese film and I strongly recommend this to everyone.