L'anguilla

I tried to spoil my girlfriend, who studies Japanese culture, with a film and it worked! Unagi (the Eal) tells a story of man who commits a 'crime passionelle' by murdering his wife. When he leaves prison the guards bring him 'his' eal. Under supervision of a local priest he tries to live a peaceful peasant-life in a place where nobody knows about his past; he becomes a barber, the eal is his friend ('they never say things you don't like..'). The situation changes when, on instigation of the priest, a girl starts assisting him in his shop. Inevitable his dilemma's come back...

I loved this film for it reminded me much of the films of the Dutch director/producer Alex van Warmerdam; the ordinary, tightly directed up to every detail, the sufficating dilemma's lightly woven thru. Modern drama at it's best!

Before "The eel" I saw two other films of Shohei Imamura. "The ballad of Narayama" (1983), who won the Palme d'or in Cannes, and "Black rain" (1989). Imamura belongs to the new wave generation of Japanese directors after the war generation (Kurosawa, Ozu and Mizoguchi) and the post war generation (Kobayashi, Ichikawa and Shindo) had put Japanese films firmly on the map of the world of cinema. Imamura was at its peak during the eighthes (beginning with "Vengeance is mine" (1979)) and nineties (ending with "The eel" (1997)).

With "The eel" Imamura won the Palm d'or for the second time and it was also a favorite movie of a film teacher regularly performing in my local arthouse cinema. Especially the last mentioned reason made me curious to see the film.

"The eel" is a film about crime, punishment and redemption. Especially about redemption as the crime and punishment elements are dealt with in the first quarter of the movie. A man finds out about the adultery of his wife, murders her in a fit of rage, turns himself in to the police and serves eight years in prison.

His release from prison is in effect the real beginning of the movie. It is obvious that the man (Takura played by Koji Yakusho who also played in "Shall we dance?" (Masayuki Suo) the year before) has been damaged psychologically. When released he continued to walk at marching pace for a while and he only talks to his pet eel.

After a while he meets a woman (Keiko played by Misa Shimizu). She obviously likes him, but he keeps treating her very detached. When she makes him a lunch box for his fishing trip he simply refuses to accept. What is the reason behind his behaviour? Resembles the new woman his former wife too much? After all his former wife also made a lunch box for his fishing trips and subsequently betrayed him with her lover when he was out fishing. Or does he no longer trusts himself in a relationship with a woman? Is he of the opinion that he does not deserve a second chance in love? And what about the woman? Why does she hang on to a man that treats her so coldly?

A lot of questions about these two persons slowly growing towards each other and towards a normal life. The problem is not so much that the film does not give clear cut answers. The problem is that the film distracts too much from this (in my opinion central) relationship by a lot of crazy actions by crazy people, especially in the last 30 minutes.

Finally a compliment for the photograpy. Making beautiful images of a beautiful landscape is easy. Making beautiful images of a somewhat littery landscape is much harder. The images of the nightly fishing expeditions after the release from prison are very atmospheric.

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 borders on dark humour when a man, who after eight years in prison for the murder of his wife, is released from jail. He sets himself up in a barber shop by the river and trouble comes knocking on his door and he can not seem to get away from it. Simple, yet effective, a very mature piece of work and pleasing overall.

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.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)