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Dr. Akagi (1998)
"Kanzo sensei" (original title)

7.5
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Ratings: 7.5/10 from 1,166 users  
Reviews: 8 user | 21 critic

At the end of WWII, Japanese doctor Akagi searches for the cure for hepatitis in the prisoner-of-war camp.

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Title: Dr. Akagi (1998)

Dr. Akagi (1998) on IMDb 7.5/10

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Cast

Credited cast:
Akira Emoto ...
Dr. Fuu Akagi
...
Sonoko
Juro Kara ...
Umemoto
Masanori Sera ...
Toriumi
...
Piet
Keiko Matsuzaka ...
Tomiko
...
Gin
Yukiya Kitamura ...
Sankichi
Masato Yamada ...
Masuyo
Tomorowo Taguchi ...
Nosaka
Masatô Ibu ...
Ikeda
Rest of cast listed alphabetically:
Wayne Doster ...
Robert Hugh Harper
Ben Hiura
Kazuhiko Kanayama ...
Sakashita (as Kozuhiko Kanayama)
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Storyline

Dr. Akagi, a rural physician in Japan during WWII, wages a one-man crusade against hepetitis, earning him a reputation as "Dr. Liver." But his fanatic campaign brings him into disfavor with the Japanese army, and as the war seems more and more hopeless for the Japanese, Dr. Akagi finds himself increasingly a scapegoat. Written by Mike Myers <mikecmyers@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Comedy | Drama | History | War

Certificate:

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Details

Country:

|

Language:

|

Release Date:

15 January 1999 (USA)  »

Also Known As:

Dr. Akagi  »

Filming Locations:


Box Office

Gross:

$71,832 (USA) (23 April 1999)
 »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Connections

Referenced in Warm Water Under a Red Bridge (2001) See more »

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User Reviews

 
The search for truth vindicated
11 February 1999 | by (Augusta, Georgia) – See all my reviews

This movie is outstanding both as art and as philosophy. Artistically, Imamura has great range and is able to make quick switches of tone and style without losing the thread, or the audience. There is a similar yoking of divergent feelings in the relationship that develops between the two main characters. They are wildly incompatible to the end, yet together they form something that we know is right. Philosophically, Imamura does what no one in Hollywood would dare attempt. In the atmosphere of moral relativism that American films have promoted since the 60s, nothing is more preposterous than to hunger and thirst after justice. But Imamura's final film vindicates that hunger and makes us want to share it. The story's surprises are so intricately prepared that I can't say much more without ruining it, but I left the theater profoundly exhilarated.


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