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THE SYNOPSIS In warring feudal Japan, a group of marauding Samurai seeking food exits the forest where they come across a house that should have what they require. On entering the house they find it has what they want and a lot more….it has women too. The inhabitants an elderly woman and her daughter in law are both subjected to continuous rape as each Samurai takes their turn, the others plunder the women's food stocks.After the Samurai have satiated their appetites,they leave the women, now unconscious for dead and set fire to their home as they flee.When the fire eventually burns out all we see are the burned and battered bodies of the women and their helpless black kitten as it licks their wounds.

Rajomon Gate….a Samurai approaches on horseback and is met by a spectral vision of a woman, who tells him she is too afraid to make her journey home because she has to pass the Bamboo Grove, which is a haven for bandits and highwaymen. The Samurai agrees to accompany her to her home, where he is plied with sake. The Daughter in laws husband Hachi, we learn has been at war for three years and has still not returned The daughter in law then proceeds to seduce the Samurai, before she brutally attacks him, devouring his throat and sucking his blood…..for we learn that the two women are in fact the newly embodied spirits of the dead women murdered by the Samurai who have made a pact with the Evil Gods/Spirits, who have allowed them life, on condition that they murder all Samurai who pass their way.

Far to the East, a sole warrior named Hachi is all that remains after a massive and bloody battle.Hachi returns home to find his home burned and his family missing, he seeks employment from the Samurai leader at Rajomon Gate named Raiko, who after hearing Hachi's brave stories takes him on. Hachi's first task is to rid the area of the spectral beasts that have been claiming the lives of his warriors…..and so Hachi sets off unknowingly to kill his own family.

THE REVIEW Unquestionably a companion piece to Onibaba, a film by the same Director…it was made to cash in on the success of Onibaba which had been met by a wave of good criticism in the west….and also because Shindo's other contemporary works had been less critically received mainly due to their overtly sexual content. Kiyomi Kuroda's award winning cinematography sets the tone for this film, its Chiaroscuro/Noir visuals are nothing short of breathtaking. The underlying tragic story of lost love is also dealt with brilliantly by Shindo who is on fine form again….the story is compelling except for the first twenty minutes which became a bit repetitive as Samurai after Samurai was seduced and killed by the women, but this ploy was used to bring the story forward so I wont criticize too much.All in all, a worthwhile buy if you like Onibaba or Asian Cinema,but the DVD despite the films stunning print is very bare.

Shot in black and white, this film has some unique imagery to accompany the creepy haunting.

Very much in the style of Kwaidan and other Japanese supernatural films of the 1960's. And very much a traditional Japanese ghost story where ghosts and evil spirits inhabit a world of logic alien to the real world. Western ghosts stories usually have the spirits think as living people do. Japanese spirits behave in bizarre ways that are much more disturbing.

The film follows the two spirits of a murdered wife and mother-in-law as they proceed to kill and drink the blood of any samurai that passes their neighborhood. The film, while very well made, is slightly routine at this point. When the husband returns a war hero, the film becomes poetic as he is assigned the task of eliminating the "monster" that is killing samurai. His encounters with his now demonic wife and mother comprise the rest of the film.

A truly excellent film. Any fan of the new Japanese horror films should see where they come from.

Director Kaneto Shindô is most famous for his 1964 ghost story Onibaba; and anyone that enjoyed that film will certainly enjoy this one. The two films are very similar in style, and that's a good thing for both as the thick and surreal atmosphere created by the director creates a perfect atmosphere for a horror story to take place in. The title of the film translates in English to 'The Black Cat' - a staple of the horror genre ever since Edgar Allen Poe penned his classic story; although this film has nothing to do with the writings of Poe and is an original story written by the director. The film takes place in feudal Japan and our focus is on a mother and daughter-in-law living alone in the swamp. Its war time and all the samurais are out fighting. However, one day a group of them happen on the pair and after eating their food, the samurai's rape the women. Shortly thereafter, many samurai are being found dead in the area; they are drained of blood with their throats ripped out. Naturally the lord of the land comes to the conclusion that a monster is behind it, and sends a young hero to deal with the problem.

Kaneto Shindô is keen to fill his film with rich symbolism and striking visuals; but also finds time for some visceral horror. The opening scenes are shocking and later the films builds into some truly memorable and surreal sequences that, when combined with the atmosphere, do manage to be quite frightening. The swamp location is a really great place for the film to take place also; and the director makes the best of it, especially during the parts in which the younger of the two women is leading the stray samurai's to their death. The film is more than just the central story; and we also follow things going on around it; such as the eventual hero's fight that earned him the right to seek out and kill the demons. The central story is definitely the most interesting, however, and while the sub plots are not boring; I did mostly find myself waiting for the film to get back on track. The way that the story builds into the end, which really brings all the stray subplots together, is really good and the film ends on a very strong note. Overall, The Black Cat is not quite as great as the director's masterpiece Onibaba; but it's certainly a very good horror film.

First of all, I would LOVE to know why this classic of Japanese 60's cinema is NOT in VHS or better yet, DVD, format in Region 1 format???

It's a real shame, as it is a perfect pairing with Onibaba(which was a terrifying double bill in San Francisco in 1978, thereabouts). It explores the touchy subject of revenge, revenge for terrible deeds done to the women, and how perfectly they exact their revenge from the grave. Guaranteed you will never hear the rustling sounds of bamboo ever the same again.

This is a movie for adults, as the subject matter is intense. It is an indictment of how women were and are treated in warfare, and the horrifying toll it takes on everyone.

I highly recommend this film. If you can locate it-for some odd reason it is extremely hard to get, and it deserves a much wider audience.

Some obvious similarities to Shindo's earlier ONIBABA, as a woman and her mother-in-law are raped by samurai, and turn to supernatural forces to seek their revenge. Shindo uses an impressive array of tricks to maintain the unsettling, creepy atmosphere -- sparse Noh-style staging, bold chiaroscuro lighting, avant-garde soundtrack, abrupt time cuts, wire work, superimpositions and other special effects. It's a very atmospheric kaidan, almost Gothic in tone. Rape is of course a disturbingly common occurrence in Japanese cinema, but here Shindo uses it as the groundwork for a decidedly feminist agenda. The film does have a few pacing issues, particular during the erotic portions in the middle (although some of it is lovely). I thought more could have been done with this story, but the visual aspects and the mood make it memorable.

This is the best ghost movie I have ever seen, and highly unusual. It has gorgeous black and white cinematography, an exotic Japanese feudal setting, and a wide variety of visual and emotional effects. The characters move with the ritual formality that I love in certain Japanese films, and the story moves on with the ruthless intensity of a Noh drama.

The final scene is thrilling. The cinematic supernatural effects are sparingly used and startling.

This is Japanese period piece of supernatural horror directed by Kaneto Shindo (Onibaba), based on a traditional folktale. During a time of widespread warfare, a woman (Nobuko Otowa) lives in an isolated farmhouse with her daughter-in-law Shige (Kiwako Taichi). The woman's son, and Shige's husband, Gintoki (Kichiemon Nakamura) have been conscripted in the war, so the ladies are alone when a band of samurai pass by and decide to raid the house for food, only to assault and kill both women while they're at it. Several years later, many of those samurai have risen to positions of importance, only a pair of ghostly women have begun killing them one by one. Gintoki, unaware of the fates of his wife and mother, is ordered to investigate the killings.

Like Shindo's earlier Onibaba, this features terrific B&W cinematography and very effective atmosphere. The acting by the three leads is also very good. This would make a great triple bill with Onibaba and Kwaidan.

With "Kuroneko" Kaneto Shindo obviously tried to repeat his success with "Onibaba" (1964). The elements of mother in law, daughter in law and ghosts reappear in the story-line.

Shindo combines the elements of his own movie with that of other renowned ghost / horror movies. From "Ugetsu Monogatari" (1953, Kenji Muizoguchi) he borrows the element of the man that returns home (contrary to "Onibaba" the husband has not died) to be welcomed by the ghost of his wife (without knowing she is a ghost). From "Cat people" (1942, Jacques Tourneur) he borrows the element of a woman turning into a savage black cat when sexually aroused.

The only aspect in which "Kuroneko" is really innovative, is the way in which the ghosts are moving. The film thereby obtains a martial arts character and can be seen as the (distant) predecessor of "Crouching tiger, hidden dragon" (2000, Ang Lee).

All in all, in most cases attempts at milking a success film seldom exceeds the original. "Kuroneko" is not the exception.

The basic premise of this film is simple: two peasant women are brutally set upon by a band of low-grade samurai who rape them and burn down their house, killing them. After this horrible crime spree, the women's spirits return and they use their feminine wiles to trick and murder as many samurai as they can get their clutches on. This samurai killing machine works flawlessly until the son and husband of the two vengeful spirits shows up after a long absence. The son/husband is, himself, a samurai. Obviously, this career choice puts the two women in quite an uncomfortable bind. Do they choose love, or vengeance?

"Kuroneko" is a workmanlike entry in the long tradition of samurai ghost story films. Attractively filmed with spirits flying everywhere in a manner that prefigures "Crouching Tiger, Hidden Dragon," it isn't boring to watch. However, "Kuroneko" definitely lacks the secret sauce that separates a decent movie from a great one. What's lacking? I think the acting isn't so great, and the story and direction aren't top drawer either. It just didn't live up to the hype for this viewer.

If you watch "Ugetsu Monogatari" by Kenji Mizoguchi, you will see a much higher order of filmmaking devoted to a similar subject. The maker of "Kuroneko," Kaneto Shindo, worked extensively with Mizoguchi, but he does not seem to have absorbed the master's talent sufficiently to bring "Kuroneko" up to the level of "Ugetsu." Even Shindo's own "Onibaba" (from just a few years earlier) is a much better movie than "Kuroneko," in my opinion.

In summary, "Kuroneko" is diverting, but it is not a masterpiece of postwar Japanese cinema. Manage your expectations carefully, and you can enjoy its charms without suffering too much disappointment. However, if you are a cat lover, the prominence given to felines in this movie may help to make up for its other shortcomings.

Although somewhat similar in both tone and presentation to director Kaneto Shindō's earlier masterpiece Onibaba (1964), Kuroneko (1968) - which translates roughly as "the black cat" - adds a more theatrical, expressionistic element to the overall design of the film, which here works towards reinforcing the more obvious spiritual/supernatural elements of the story and that unforgettable sense of nocturnal, dreamlike abstraction. As is often the case with Japanese supernatural horror stories, the plot of the film is an incredibly simple and moralistic one, dealing primarily with the notions of revenge and retribution re-cast as a pointed supernatural metaphor, with much emphasis placed on the overriding ideas of coincidence, karma and fate. In keeping with these particular ideas, Shindō creates a slow and atmospheric work that takes full advantage of the stark, unearthly ambiance suggested by the high-contrast black and white cinematography, which really helps to further underline the creation of this barren, war-torn period setting, filled with danger and despair.

Unlike Shindō's two most famous films of this period, the aforementioned Onibaba and his earlier classic The Naked Island (1960), Kuroneko sees the director moving even further away from his earlier interest in naturalistic environments - and the use of those unforgettable landscapes to underline the unspoken elements of the drama - and instead illustrates an interest in studio-based production, in a clear attempt to capture the sense of desolate, otherworldliness presented by the claustrophobic netherworld that the spirits of the film inhabit. By mixing these two styles together - cutting from a location to a studio to illustrate the characters moving between the two different worlds of the film - Shindō is able to create a further degree of heightened atmosphere, tension and theatrical abstraction that is further illustrated by the expressive use of costumes and kabuki-like make-up effects, combined with the director's continuing experiments with sound design and atonal musical composition.

The harsh tone of the film is established right from the very beginning, with the opening scene still standing as one of the most shocking and memorable of 1960's cinema, as Shindō takes us right back to the unforgettable images of Onibaba and a scene of deplorable brutality that will reverberate throughout the rest of the film. Here, we fade in on a shot of a small hut surrounded by long billowing grass and tall, leafy trees in the heart of rural Kyoto. Shindō holds the shot for an incredibly long time, establishing the incredibly slow and deliberate pace that the rest of the film will employ, before we finally see an armed warrior emerging from the bushes. His movements are slow and furtive, as he stealthily moves closer to the hut looking for food and supplies. Eventually, more soldiers appear, phantom-like from foliage and move closer towards the hut. Sleeping inside are an old woman and her daughter in law. The soldiers descend on the hut, much to the shock and surprise of the two women who try desperately to force the intruders away; however, eventually realising that the supply rations of the hut are meagre and unsatisfactory the soldiers gang-rape the two women, and burn their hut to the ground.

Here, Shindō films a violent scene that could have easily become lurid and exploitative with a pervasive sensitivity; establishing the brutality to come before cutting to an exterior shot that he once again holds for a number of minutes, creating a tragic subversion of the previously tranquil setting that opened the film. As the smoke begins to pour from the hut and the soldiers, once again, ghost-like and oppressive, filter back into the tree line we know that the film has crossed a threshold into darker territory from which it simply cannot return. With the thematic elements of this tragic, dramatic set up - combined with the period in which the film is set and the approach of the director - you can certainly see positive similarities to Ingmar Bergman's punishing rape/revenge drama The Virgin Spring (1960). However, whereas Bergman used this aspect of the plot to riff on spirituality and a suffocating, existentialist riddle; Shindō is instead more interested in mining a path of slow-building terror and blood-thirsty retribution.

To reveal any more would spoil the impact of the film and the odd, erotic atmosphere that Shindō skilfully creates through the combination of stylised photography, choreography, production design, lighting, music and editing. It is at times reminiscent of Mario Bava's excellent Gothic horror films The Mask of Satan (1960) and Kill, Baby... Kill (1966) in regards to the evocative stylisations and emphasis on mood and design; though also bringing to mind the brilliance of Masaki Kobayashi's masterpiece Kwaidan (1964), in particular the segment entitled "The Woman of the Snow". If you're already familiar with Onibaba (one of the greatest films ever made), then you'll have some idea of what to expect from the direction of Kuroneko, with the incredibly atmospheric use of black and white cinematography - making full use of that expansive, Cinemascope frame - augmented by an intelligent approach to production and location design and the slow, evocative atmosphere of nocturnal nightmare and fever dream obsession created by the story itself.

Today I want to talk about Kuroneko (The Black cat in english). For anybody who doesn't know about this Japanese classic, I want to say: what? Are you crazy? I'm just kidding, but seriously you cannot miss this incredible film. It tells you so much about Japanese culture and cinema. Kuroneko is written and directed by one of my fav Japanese directors: Kaneto Shindo. I know, he's not as famous as Kurosawa nor Ozu, but he's brilliant nonetheless. He's the mind behind Hachikô Monogatari, Hatchi with Richard Gere is the US remake of this touching picture. In his career, Shindo has written almost 200 films and has directed near 50 films. Unfortunately, he died a few years ago, at the age of a 100 years old. Kuroneko is a Japanese kaibyo eiga, it's the ghost cat film genre in japan, very popular and prolific during the 60's. It includes ghosts, murder and a black cat figure. Kuroneko is an avant-gardist horror film, ahead of his time, it's also very provocative, because it involves gang-rape and murder. It's eerie, atmospheric, scary, romantic, sad, and beautiful. The cinematography is simply amazing, every frame is like a painting. Kuroneko is definitely one of my all-time favorites. I urge you to watch it.

Shindo's Kuroneko is an absolute classic of the genre. The film is full of imagery an atmosphere that will haunt the viewer forever. The plot is basically about the revenge of two women who are raped by samurai warriors and then killed.They come back from the grave as cat vampire ghosts who suck the blood of samurai warriors.The parts with the vampires floating through the air are awesome and when they climb trees like cats are very memorable also. One of my favorite moments is when a warrior is walking through the woods and notices something on the back of his horse while he is pulling it.(I don't want to give it away). There are so many things I could say about the film but the bottom line is if you are a vampire or horror movie fan(especially old school) this film is a MUST! You may have to search around for a copy of the film because it is extremely rare but it would be worth the effort. TRUST ME! You will wonder how you ever lived without seeing it!

After Yone (Nobuko Otowa) and her daughter-in-law Shige (Kiwako Taichi) are raped and murdered by a gang of samurai, the women's spirits return from the underworld in human form, having vowed to kill all samurai and drink their blood. The discovery of several samurai with their throats torn out leads warlord Raiko Minamoto (Kei Satô) to order military hero Gintoki (Kichiemon Nakamura) to slay the monster responsible. However, when Gintoki encounters the ghostly women, and recognises them as his wife and mother, whom he hasn't seen since returning from war, he cannot bring himself to destroy them; his refusal to carry out his orders puts his life in danger. Similarly, Yone and Shige risk an eternity in hell by not killing Gintoki.

Rooted in Japanese folklore, Kuroneko (AKA Black Cat) is a wonderfully lyrical horror fable -- a magical, violent, and sensual story of revenge, anguish, and love after death, masterfully told by director Kaneto Shindô (Onibaba). Beautifully shot in black and white, with lighting, framing and camera movement planned to perfection, the film is a feast for the eyes, but not at the expense of the storytelling, Shindô gradually drawing the viewer in with his tragic tale for whom there can be no happy ending. As is often the case with ghost stories, especially old Oriental ones, the pace is leisurely, with the emphasis on atmosphere over spectacle, but even so, Kuroneko is never boring: it's far too well crafted to be considered dull. The closest it comes to disappointing is with its somewhat confusing conclusion, but it compensates by having it snow, and who doesn't love snow in a Japanese movie?

7.5/10, rounded up to 8 for IMDb.

KURONEKO is simply one of the best ghost/horror films ever made. The stylised nature of the film creates the feeling "haunting" in a way that few horror films could ever even imagine. The aesthetics informed many other ghost stories, particulary those from Asia, for example A Chinese Ghost Story (1987), but few other films are as undiluted as KURONEKO.

'Kuroneko (1968)' plays with much more overt supernatural theming than the director's previous effort, 'Onibaba (1964)'. With a slow and steady hand, the filmmaker weaves a tale of love, revenge and otherworldly deals with the devil as the story progresses through its varying stages. There are some incredibly compelling, visually striking sequences in which the focal spectres stalk and desanguinate their foes. Later, the film places focus on a warrior who returns home to find it burnt to the ground and is tasked with taking out the ghosts who haunt the bamboo grove. This is where the picture gets hold of its major themes, as the now samurai seems to recognise those he must hunt. So begins a tangled web of intrigue, longing, seduction, violence and confusion. Though it gets slightly repetitive in its mid-section, the film remains intriguing and enjoyable throughout. It's ambiguous and alluring, with somewhat atypical dynamics and a strong visual presence. Its enigmatic nature adds to its otherwise moody atmosphere to create a distinct experience. It isn't always totally successful and it asks one or two questions that seem sort of misplaced, but it's a solid supernatural effort. 7/10

Two women are raped and killed by samurai soldiers. Soon they reappear as vengeful ghosts who seduce and brutally murder the passing samurai.

Manohla Dargis describes the film as "a ghost story that's more eerie than unnerving, and often hauntingly lovely". Maitland McDonagh writes that it is "darkly seductive" and "sleek, hair-raisingly graceful, and ready to take its place alongside the other landmarks of Japanese horror history". I appreciate that the phrase is "take its place", implying it is not already there. Despite being released by no less an authority than the Criterion Collection, I don't think this is a very well-known Japanese horror film.

What is really striking for me is the use of the eyebrows. A simple use of makeup, but it makes for a very creepy and offsetting feeling. The women become somehow other than human.

Traveling to a remote village, a samurai gang find a sudden series of graphic murders to be due to a previous encounter with two women who were raped and killed and are now seeking revenge while a revered warrior is enlisted to launch a battle against the malicious ghosts who have tormented his friends.

This was a really enjoyable and entertaining ghost effort. One of it's better parts is the technical work throughout here, starting with the incredibly strong and brutal opening. Showcasing nothing at all, done totally in long, silent takes and focusing not on the act itself but the crazed animalistic expressions of the troops as they go about raping the girls which sets a perfect tone for the film and the rampage later. There's also a lot to like from this one's visual images, which is best displayed by the eerie and almost ghostly journey through the forest. The setting is amazingly creepy on its own while the scenes of the white-dressed woman almost float through the scenery while the horseman struggles to follow behind, even losing her in the trees at one point. His later monologue in their house, where the background turns into a ghostly forest superimposed over it as he recounts his story makes for an impressive visual, especially with the cat-like behavior slyly integrated into the evening. The later scenes of the ghost's rampages are some of the film's best moments in that they're so much fun, especially when the duped samurai are lead into the house time and again to meet their deaths by the ghosts. The fight scene from the one smart enough to avoid the ghosts originally, with them both whipping around the air and the rapid slashing at them is a great way to up the fun here, and the main one where the head samurai discovers that he knows who they are and resort to a relentless series of mind-games to torment him is just a blast. With the different ways that they go about it, with the dancing and different rituals that are presented, it becomes quite expressive and incredibly enjoyable. There's also the fantastic finale where the two finally reveal their true form and take their full revenge that captures the perfect balance of existential torment and supernatural action with the ghost floating around the hut and disappears into the atmosphere being a particular highlight. These here are the film's best points. There wasn't much wrong with this one. Frankly, the most irritating factor is that this one ends up doing the same thing throughout the middle section over and over again without any difference. The daughter shows up in distress, leads the unwary party back to the house while engaging in a tea-ceremony with her mother before the untimely end, which happens to each of the men. It doesn't change the formula at all, and while one of them discovers the treachery and at least fights back, there's still nothing new that develops. The other part of this that stands out is the extremely slow-going pace to it. There are some long scenes in here that don't serve much for this one beyond giving it some length. The near-incessant talking becomes a little too much to bear at certain points, especially the eternally-agonizing revelation scene where the ghosts reveal their intentions. It just drags on forever, lasting twice as long as it should've been as it just talks through everything, letting it last a little longer than it should. These, though, are the only flaws in this one.

Rated R: Violence, Language, Nudity, a lengthy, tame Sex-Scene and an inexplicit Rape scene.

Black Cat could almost be seen as an early example of a werewolf genre, albeit with the main threats/monsters/antagonists transforming into cats instead of wolves. Still, it follows many of the conventions of the genre. Its monsters slash victims are people shunned and rejected by society who are seeking compensation for the alleged wrongs done against them.

Well, alleged is a bit of a strong word here. These ladies absolutely have a case against their victims.

What I like the most about this film is its atmosphere. There's a heavy feeling of dread hanging over the entire film. War has ravaged the land and absolutely no one is safe. Not even the innocent farmer lady and her daughter-in-law living in a rural cabin in the woods.

There's also a feeling of otherworldliness hanging over the film. Whenever the vengeful spirits are on the screen, we're transported into a realm of their own making. A realm where the walls are closing in and the rules are loose.

If I had to nitpick, I'd say the plot is driven more by coolness of idea than strict adherence to logic and plot. The vengeful spirits seem to do whatever they please, as long as it doesn't contest the plot. And when it does, the plot seems to melt away in order for the story to make sense.

Black Cat has the atmosphere and the spooky bones to make it work. Not the best horror film I've seen, but it deserves a special mention for its age alone, if nothing else.