La vengeance est à moi

In late 1963 a serial killer and conman Akira Nishiguchi gained nationwide attention in Japan by murdering five people, several of them while on the run from the police. In the late 1970s a book based on his life inspired the master director Shôhei Imamura to use his story as the basis for a cold crime film titled Vengeance Is Mine. The film starts with the capture of the killer Iwao Enokizu (Ken Ogata) and advances non-chronologically, depicting the detectives interviewing his family and former lovers and how Enokizu first came to know them. Particularly the muted relationship of Iwao's wife Kazuko (Mitsuko Baisho) and his Catholic father Shizuo (Rentarô Mikuni) is paid attention to, so is his stay at a brothel-like inn managed by Haru Asano (Mayumi Ogawa) and her ex-con mother Hisano (Nijiko Kiyokawa). The scenes ranging from Enokizu's childhood to his time in death row cast light on what kind of man he is, but avoid serving easy, clear-cut explanations of his inner motives.

Imamura has taken an unspectacular, down-to-earth approach to his enigmatic subject. Some techniques, such as identifying the victims' names and causes of death by subtitles, are not far from the style of documentaries. While some of Enokizu's killings take place off-screen, the depicted murder scenes are not softened by turning the camera away or fading to black, making especially the sexual violence hard to watch for sensitive viewers. Still, Vengeance Is Mine is more of a character study than a crime thriller, as in the latter parts of the film the detectives' role is diminished and the focus turned to Enokizu. He is portrayed as having been belligerent and self-confident from young age, soon blossoming into a full-blown psychopath to whom other people's feelings are of little concern, as exemplified by his cruel psychological treatment of his family. Even if Iwao's basic nature is inherent, it could be possible that the suppressed atmosphere in his parents' home has affected the way he turned out: the deeply Christian father sparks Iwao's hatred for weakness and humility, prompting him to openly mock the lack of action from the family's part when feelings develop between Kazuko and Shizuo.

Besides his twisted relationship with his family, another defining element in the film is Enokizu's stay at the inn with Haru, a mistreated woman who has to look after her unreliable mother. Imamura's portrayal of Haru is highly forlorn; to her Iwao's presence represents a possibility of freedom from her gloomy life, even when his past is no longer a secret to her. It is also during this time when the stress of being a fugitive is starting to take its toll on Enokizu; he turns from a self-confident fraudster to a more serene and openly menacing figure, an interesting change as we, the audience, already know him as cocky and carefree from the first scene that has yet to happen in the story's timeline.

The very dark lighting in the interior scenes and the slow-paced, detached storytelling will alienate those expecting a suspenseful serial killer thriller, but as a flat-out drama Vengeance Is Mine provides a fascinating trip into the world of the suave killer. Ken Ogata handles the lead role with natural charm, effortlessly fitting in the various roles Enokizu assumes over the course of the film. Rentarô Mikuni also makes a great counterforce to him as the guilt-ridden father, but especially the unlucky women Haru and Hisano are powerfully brought to life by Ogawa and Kiyokawa. The visuals are not as aesthetically striking as in Imamura's earlier masterpiece Unholy Desire (1964), but the mood is so heavily tied to the reality of Japanese society in the 1960s and 70s that the depressing mundanity of the surroundings is never out of place. The only moment rising above the strictly realistic atmosphere would be the very final scene on the top of a mountain: Enokizu's spirit will remain lingering in the lives of those around him. All in all, Vengeance is Mine should not be ignored by any enthusiast of crime cinema, but admirers of slow-burning character dramas are probably the ones to find it the most rewarding.

I think this movie is an all around tour-de-force depiction of a sociopath. All aspects of this movie are superb. The main actor gives a truly chilling and convincing portrayal of a man with no conscience, at the same time giving his character great depth and complexity. Aside from being based on true events, this cold blooded murderer is much more realistic than the clever game-playing types portrayed in such films as "Silence of the Lambs". I would highly recommend this movie to all but the squeamish.

Vengeance Is Mine marked Shôhei Imamura's return to fiction filmmaking after a decade spent working on documentaries. It is based on the true case of Nishiguchi, a Japanese criminal who eluded police for 78 days while committing five murders. The novel from which the screenplay was taken changed the name of the anti-hero to Iwao Enokizu and fictionalized real events. By providing a 'halfway house' between complete invention and real crime reporting, the source thus gave Imamura an ideal stepping-stone back into feature films: retaining the support of documentary inspiration whilst allowing the director to bring his personal vision and structuring to the events unfolding on screen.

Modern viewers are long used to a diet of slaughterer cinema, whether it be the Eileen Wuornos depicted in Monster, Albert Fish of The Grey Man, or much less illustrious fodder as Bundy, and Ed Gein. But even after 25 years, Vengeance Is Mine remains one of the few outstanding mass-murderer screen biographies. Told through a series of flashbacks, Imamura's film suggests by its structure both the disassociations of a killer's mind as well as reducing any empathy between creator and lead figure.

Thus we see Enokizu's story in five different time periods or points of view: first, during his final arrest and in police custody; then during the police investigation itself; while the killer is committing his crimes and escaping from the law; fourthly, his life before his crimes. Finally there's a scene or two occurring after the execution.

By recounting the various stages in a killer's life in non-linear fashion, interesting juxtapositions are possible, all the while dramatic tension between crimes is disrupted. We know that the murderer will have his way and the opening shows us he has been caught. The script's treatment of the material means suspense is removed from events, instead placed at a psychological level, i.e. not on how Enokizu builds to a killing and, presumably, hopes to get away with it, but why he does.

But as critic Alex Cox has said: "there are no easy answers" found in a movie much more oblique in its presentation than Hollywood might attempt. Indeed, for the most part, Enokizu's crimes seem to have no overwhelming motive at all (apart from the need for survival money), although deep at the heart of his compulsive behaviour is his bitter relationship with his father. And as Cox further observes, although Vengeance Is Mine headlines a biblical source, ("vengeance is mine, I shall repay sayeth the Lord") it is not absolutely clear in the film on who, or what, Enoziku is wreaking vengeance on.

If providence is interested in exacting justice by turn, bringing a necessary come-uppance, its mainly represented by two or three shots over the course of a film, suggestive of a hangman's noose - much more man's law than heavenly retribution. This, while Enokizu is caught and punished, such critical moments (commonplace set pieces in such western killer-centered films such as In Cold Blood) are not even shown. Vengeance Is Mine leaves precise moments of apprehension and execution to our imagination. Instead it shifts focus onto a fractured criminal career of mayhem, familial confusion, and casual sex.

Enoziku's father, Shizuo, is a complicated figure who stands as much at the centre of the narrative as does his son. Shamed during the war by refusing to stand up to the requisitioning authorities (a traumatic event witnessed by his son) he later develops a close relationship with Enokizu's wife. Although we presume not consummated, this attraction is a continuing source of great friction. But as Shizuo admits, another tie binds them as: "the blood of the devil runs in my blood too." At the end of the film it is left to Shizuo, a Catholic, to feel the guilt his son never expresses, and undergo excommunication as he arranges to be buried away from his wife in final penance. Critics have argued that Enoziku's murderous career is ultimately inspired by a lack of ability to kill his own father, and this failure is what motivates in turn his rage against others. Shizuo certainly recognises this weakness in murder during a final confrontation between the two, and it represents Enoziku's only regret.

With many of its characters drawn from the working classes and a preoccupation with sex, Vengeance Is Mine is a film entirely characteristic of its director, even after a decade long hiatus in his feature career. Like Mizoguichi before him, he often concerned himself with fallen or distressed women in his movies and here they are, represented once again. Imamura had also been a black marketeer in his early years, and was quite at home depicting the underbelly of society, whether it be the sleazy family inn at which Enoziku finds himself, the casual nature of the call-girls brought to its door or the fact that grandmother (herself a killer) watches intimate proceedings through a peep-hole.

Enoziku adapts the identity of a university professor during his stay at the inn, and elsewhere a lawyer (filching thereby an amount of money saved for a parole payment). Both outwardly upstanding and hunted at the same time, the criminal hides his culpability beneath a respectable façade. As with the rest of the film, the director's distancing allows no judgement on this state of affairs, merely showing Enoziku's illusion as convincing. Instead it leaves the anti-hero and his actions in a limbo, dependent on our own moral standpoint. Like the murderer's bones, thrown into the sky at the close, matters are suspended between heaven and hell, requiring further investigation.

'Vengeance Is Mine' is one of the best movies I've watched in a long time. I know there is a growing cult surrounding Imamura ('The Pornographers'), but I'm still extremely surprised that this movie isn't better known and discussed more. For many movie fans Japanese cinema either equals Kurosawa and Ozu if you're highbrow, and Godzilla and Mothra if you aren't, but both these simplistic approaches marginalize all kinds of fascinating and exciting movies from Suzuki's 'Tokyo Drifter' and 'Branded To Kill' in the 1960s, 'Vengeance Is Mine' and Oshima's 'In The Realm Of The Senses' in the 1970s, on to such contemporary innovators as Shinya Tsukamoto ('Tetsuo'), Beat Takeshi ('Hana-bi'), Takashi Ishii ('Gonin'), and Takashi Miike ('Ichi The Killer'). 'Vengeance Is Mine' is easily the most interesting serial killer movie I've ever seen. The narrative structure can be a bit confusing at first, and that combined with Imamura's non-judgmental approach might throw some viewers for a while, but if you persevere you won't regret it. Ken Ogata gives an impressive performance and the movie as a whole is utterly brilliant. I watched it twice to try and fully appreciate it, and I would now rate it as one of the very best movies of the 1970s (my favourite movie decade). This beautiful and disturbing movie comes with my highest recommendation!

Immamura Shohei, one of Japan's best directors, does not put a foot wrong in VENGEANCE IS MINE, one of the best films ever made.

This is a searing, raw, uncompromising study of a disturbed, callous, opportunistic killer, husband and son.

The film, running just over two hours, takes an almost doco-style approach to the crimes of its protagonist (played with chilling conviction by Ken Ogata) and takes great pains to examine the impact his behavior had on his mother, father and wife.

A flashback, which goes some way towards explaining how Ogata developed such a disdain for authority, is a masterstroke of cinematic brevity.

Although Immamura is known mostly for such brilliant work as THE PORNOGRAPHERS, BLACK RAIN and the excellent THE EEL, this is surely his crowning achievement, a film so rich and involving that it personifies everything that is so amazing about Japanese cinema, truly a cinema of the soul.