La anguila

I actually enjoyed the film a lot. Maybe it's not one of the most articulated films, but there was liveliness in it,and i think that's the reason the eel got cannes. The lives of misunderstood,isolated finds the peace with themselves in a remote country side, reminded me of Mediterriano a bit. The man's murder, suicidal heroine and her mad mother, a guy who is obsessed with UFO, which seems unexplainable and their lives are narrated in a messiest possible way. I think this film is not for analysis or for coming to conclusion, the director wants to show a utopia where misfits can be forgiven and find a harmony with the world, where a human communicates with an eel. And where people can have a chance to get redemption,,,

Takuro Yamashita, played very effectively by Koji Yakusho, gets an anonymous letter telling him that his young, pretty wife is entertaining another man while he is out fishing at night, this after she lovingly prepares and packs his supper. He goes fishing but returns home early in time to catch her in medias res. In a cold rage he knifes her to death. He bicycles to the police station and turns himself in. Eight years later he gets out of prison. This is where our story begins.

Yamashita, now embittered toward others, especially women, is on parole. He sets up a barber shop in a small town. He keeps a pet eel because he feels that the eel "listens" to him when he talks. One day he discovers a woman (Keiko Hattari, played by the beautiful Misa Shimizu) in some nearby bushes who has taken an overdose in a suicide attempt. He brings the police to her and she is saved. She becomes his helper at the barber shop and is so efficient that the barber shop prospers. She falls in love with him but because of his shame and bitterness, he cannot return her love.

This is a film about human sexuality. It is not pretty. The eel itself (a wet "snake") symbolizes sexuality. When this sexuality is confined it is under control. When it is let loose it is dark and deep and mysterious. Director Shohei Imamura's technique is plodding at times, and striking at others. His women are aggressive sexually even though they may look like little girls. His men can be brutal. Their emotions, confined by society as the eel is confined by its tank, sometimes burst out violently.

For many viewers the pace of this film will be too slow, and for others the sexuality depicted will offend. For myself and others who are accustomed to seeing the faces of the players in long close ups on TV and in Western movies, Imamura's medium shots and disinclination to linger on the countenances of his actors will disappoint. Yakusho's face suggests the very depth and mystery that Imamura is aiming at, yet I don't think the camera lingers there enough. Also disappointing is how little we really see of Misa Shimizu's expressions. Chiho Terada, who plays the murdered wife, is also very pretty and completely convincing, but we see little of her. Her expression just before dying, a combination of shamelessness and resignation, funereal acceptance even, was unforgettable.

This is very much worth seeing, but expect to be annoyed by the how slowly it unravels and by the central character's stubborn refusal to forgive both himself and his late wife and his inability to embrace the life that is now his.

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Takura Yamashita (Koji Yakusho) has served eight years in prison for murdering his wife and her lover in a jealous rage and attempts to rehabilitate himself by opening a barbershop in an isolated corner of Japan. His past, however, catches up with him in Shohei Imamura's The Eel, co-winner of the 1997 Cannes Palme D'or with Kiarostami's A Taste of Cherry. Based on the Akira Yoshimura's novel Sparkles in the Darkness, The Eel is either an absurdist comedy, a drama about redemption, a surreal poem about states of consciousness, a thriller about jealousy and revenge, or all of the above.

As the film opens, Yamashita, a worker at a large flour company, is startled to read an anonymous letter on the train coming home from work informing him that his wife cheats on him when he goes away on overnight fishing trips. Cutting one of his trips short, he returns home in the middle of the night to find his wife Emiko (Chiho Terada) in bed with a lover. Grabbing a butcher knife, he brutally stabs both of them to death then calmly rides his bicycle to the local police station and turns himself in. After eight years in prison, he is released and paroled to an elderly Buddhist priest. Alienated and afraid, Yamashita's only companion is a pet eel whom he confides in ("he listens to what I say"). He opens a barbershop in a rural part of Japan but his life becomes complicated after he saves a young woman, Keiko (Misa Shimizu), from suicide and gives her a job at his shop. Reminded of his former wife, Yamashita avoids intimacy but she is drawn to him nonetheless and offers him box lunches when he goes fishing.

In spite of trying to keep his distance, Yamashita attracts some local characters that move the plot in a different direction. These include a young man who borrows his barber pole to attract UFOs, a fishing buddy who designs a device to catch eels without harming them, and his former prison mate, Tamotsu Takasaki (Akira Emoto), a foul-mouthed drunk who recites Buddhist Sutras and reminds him of his previous acts. The story, which until now has had a rich dramatic arc, soon descends into forced comedy when Keiko's mentally-challenged mother shows up doing flamenco dances and Keiko's former boyfriend returns demanding her mother's money. The townspeople and semi-gangster associates of the boyfriend join in a final free-for-all at the barbershop that might have been lifted from the Three Stooges.

The Eel is at times a brilliant and involving character study about a man seeking to turn his life around. At other times, however, it is a discordant conglomeration of plots and subplots, one-dimensional characters, and heavy symbolism relieved only by wooden farce. The UFO sequence is very lame and the comic behavior of a man just out of prison seems inappropriate as he marches like a soldier then runs after a jogging team that is passing by. Imamura has said, "If my films are messy, this is probably due to the fact that I don't like too perfect a cinema." I know that things are not always neat and our lives are often a blend of drama and farce, but The Eel's odd mixture of quirky characters and widely disparate elements keeps it from coming together as a satisfying whole.

The Eel is a good kind of surprise as a film primarily if you are familiar with other films by this director; works like Vengeance is Mine, The Insect Woman, even his other Cannes winning The Ballad of Narayama contain a harsh view of humanity, unsparing and pitiless really, especially when it comes to how far human beings will take themselves into dark recesses. This film looks like it will go that way, but that is just in the opening minutes as we see Yamashita commit a brutal act (the always tremendous Yakusho, because he always is doing so much with so little in a natural, observant but commanding manner), and then it cuts ahead years later, out of prison, and he has to just move on with his life.

There is the theme or metaphor or what have you with the eel, and a character or two even try to figure out and explain to Yamashita what an eel represents (fittingly, he does not know fully himself, which is the right character move on Imamura's part), though that is less interesting to me than what hoe Yamashita gradually becomes involved with this small community by this barbershop he works at, not least of which the young woman Keiko (Shimizu, very good here as well, if sometimes asked to go big and melodramatic when that is not her strong suit), who Yamashita saves from ending her own life.

If anything it reminded me not what I sort of thought it might be ala Sling Blade (albeit very very different protagonists) than it is like one of those low-key comedy/dramas that were coming out in the mid to late 90s and into the 2000s in America. Of all things The Station Agent in particular popped in my head as far as this sort of outsider who is befriended by a few people despite the fact that the protagonist is reminded all too much that he may not be fully accepted (if he even wants to be), and a tone that is most interesting precisely because it sort of bobs and weaves (or, if I must go to the eel metaphor, a slippery creature you can never get a handle on) between a lighter comedic tone and something that is melancholic and contemplative about how one forgives onself.

All of this makes the film sound more captivating than it is on the whole since Imamura takes his time with the storytelling, maybe too much (and I know I watched the newly released director's cut but hey that is how he wanted the world to see it), as there is some meandering with a side character obsessed with UFO sightings (again, 1996 for you) and Keiko's mother who pops up for some scenes and feels superfluous. Other developments happen that will eventually snowball by the climax, ie a pregnancy and another parolee who is definitely not doing life after jail the right way (two words: prayer beads), and the film picks up some dramatic steam in the last twenty five minutes or so.

The Eel is a character study more than something that relies on shock value like Imamura's other work, but in a way that may make this his most accessible film, which is ironic given how it begins in a graphically violent set piece (not the amount of blood so much as the frankness of it and what Yamashita does right after the killings). It is almost like we have to decompress and find some sort of... is peace the word? This may take too much time to get to where it is going, but there is also a pleasure in experiencing what Yamashita is going through and what connection he is forming - if not romantic than just having a real friend in Keiko - and Yakusho keeps it grounded to that reality, despite some (odd) dips into surrealism for Imamura. 7.5/10.

This was a very engaging film about a guy who murders his cheating wife and then is released from prison 8 years later. You really find yourself rooting for him--especially when he meets and saves the life of a lady. You really want them to get together,...the problem is, he is SO afraid to open up to people that he distances himself from her and chooses to confide more in his pet eel. It seems that if he does connect to someone on a deeper level, he's afraid he might kill again--though he is clearly a decent person who snapped one time in his life and only after being pushed. It's a great character study and the acting and direction are marvelous--with a few lapses here and there. What didn't I like? Well, it isn't so much the acting that's the problem, but the script. Repeatedly, flashbacks and psychotic-like hallucinations occur. They tend to muddle the basic message and confuse the plot. Without these and without the LARGE amounts of blood in the murder scene, this would have gotten a rating of 9 or even 10.