Jigokuhen

There are a lot of reviews calling out the over the top performances, but it seems strongly inspired by ritualized drama forms like Kabuki and Noh. Just look at the Paramount Lord's eyebrows! It's just really traditionally stagey. What I found weirder is that the 'good guy' is much worse than the 'bad guy'. The scene with the snakes, let alone the business with the daughter, the artist is just horrrrrible.

Really hard to find but ultimately quite good Japanese movie that's a cross between a period drama and a horror film. Its premise is simple, but mostly works, and it has a great sense of atmosphere that proves to be really immersive in certain sequences.

I would say that after a strong opening (and before a very good final act), it does meander a bit at times. It's not surprising that it was based on a short story, because the narrative is stretched a little thin, even at only 95 minutes. There are also some very bold colour filters that sometimes work and sometimes don't, and I felt that way about some other stylistic features, too (there's some really crazy audio in here at certain points).

Acting is strong across the board, the climax is great, and the film has plenty of great visuals. The shortcomings don't hinder this too much, and overall it's a very well made film. It's probably more of a 7.5 than a 7, but not sure I can quite get it to an 8.

This filmed theatrical performance centers on the tension between a Japanese ruler and a Korean artist. The ruler a Buddhist who considers himself a living Buddha amidst the suffering of his people brought on by his indifference, the artist a Confucian whose pride has been trampled on so many times he comes to hate even his innocent Japanese student who courts his daughter. One of the many themes in this carefully told story includes the idea of individuality portrayed by a political rebel sporting an ogre's mask. The rebel and the Japanese art student, fueled by their individual power, storm the castle of the corrupt lord like demon's of hell. Although the wheel of karma turns, symbolized by the wheels on the lavish royal carriage, their is always personal choice. The artist chose to imprison his daughter,Yoshika, drive away his foreign protege, and dared the lord to burn the carriage holding his girl. The lord chose, to indulge in an egocentric project to have a painting of himself as an enlightened being, verbally and physically abusing the genius painter, ignore the Korean king's call for help during an invasion, hold the innocent daughter of the artist, and ordered the slaughter of Korean immigrant's as they tried to go home. We, the audience hope for a glance at the evolving masterpiece the artist is working on. The painting is at first inspired the the fear of a chained little boy who squirms at the sight of approaching snakes. Finally, the artist (Tatsuya Nakadai) realizes that the torment of damnation is within himself this whole time. The flames in the movie seem to melt the screen and the haunting flute song becomes the soul of this tragedy. All the actors and actresses perform this tale in a very traditional, super dramatic way. Every time the artist begs for the return of his daughter from the lord you can't help but feel heart broken. The film is a real treasure but slightly flawed due to the innapropriate soundtrak which would be more appropriate for a western epic. Masaki Kobayashi's Kwaidan clearly contributed to this film's lush and hyper real colors, textures and images. Do anything you can to view this work.

I stumbled upon this film in my search for more films in the Kwaidan genre. The DVD quality was OK but after viewing the film, I kind of understand why it was not more popular as a film, although it also came from the same time period when ghost stories - Kwaidan, Strange Tales from the Four Valleys - basically introduced me to the joy of Japanese cinema in my younger years.

It is nutshell, it was a slow and tedious film without a character that you would care about. Well, perhaps except the daughter of the protagonist, played by Tatsuya Nakadai. He was one of my favourite Japanese actor from the past and his acting here was fairly solid. Still, it did not compensate enough for the pace and dullness of the story line.

Perhaps this story is more suited for a stage play. For cinema, much is lacking to make the film engaging to its audience.

A title that the film delivers the goods. Not the Hell of western imagination but the Hell of Buddhist thought. This is a tough film that really stick in the mind long after it's over.

Nakadai plays a Korean court artist to a ridiculous Japanese Lord who is blind to the growing poverty of his domain. The Lord wants a mural of Buddhist paradise but the artist doesn't know what that looks like. He can only paint death and misery. The artist himself is no great example of humanity as he's a full blown bigot. Caught in the middle is the artist's daughter and her innocent Japanese lover.

This film would not be possible without Nakadai who uses his ability to portray deep despair to it's fullest here. At points he looks like his character in "Ran" almost exactly. The points covered here include vanity, racism, pride, and other human traits that create a hell on earth. There's no happy ending here so be warned.

Wonderful sets and a theatrical style of lighting create an atmosphere unlike most other films. Recommended