IMDb > Ankokugai no bijo (1958)

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Susumu Saji (writer)
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Release Date:
25 March 1958 (Japan) See more »
Plot Keywords:
(2 articles)
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User Reviews:
Diamonds are forever. See more (7 total) »


  (in credits order)
Michitaro Mizushima ... Miyamoto
Mari Shiraki ... Akiko Mihara
Shinsuke Ashida ... Ôyane
Tôru Abe ... Mihara
Hideaki Nitani ... Detective Watanabe
rest of cast listed alphabetically:
Setsuko Amamiya ... Keiko
Tomio Aoki
Shôki Fukae ... Fujita
Ayako Fukuda ... School Girl A
Kyôko Horikawa ... School Girl B
Ryusei Ito
Bumon Kahara ... Hatano
Hiroshi Katô
Ichirô Kijima
Hiroshi Kondô ... Atita
Kazuo Mihara ... Detective
Jun Miyazaki ... Yoneyama
Kyôichi Mizuki
Reiko Sakuma
Eiko Takada ... The Nurse
Seijiro Takano ... Policeman
Kaku Takashina ... Ôsawa
Chigusa Takayama ... Mineko
Keisuke Yukioka ... Sakai
Fumisuke Ômi

Directed by
Seijun Suzuki 
Writing credits
(in alphabetical order)
Susumu Saji  writer

Produced by
Takashi Nishihara .... producer
Original Music by
Naozumi Yamamoto 
Cinematography by
Wataro Nakao 
Film Editing by
Akira Suzuki 
Production Design by
Takeharu Sakaguchi 
Second Unit Director or Assistant Director
Kazunari Takeda .... assistant director
Sound Department
Saburô Takahashi .... sound
Camera and Electrical Department
Masahiro Takashima .... gaffer
Other crew
Rosemary Dean .... english subtitles
Tetsuro Shimauchi .... english subtitles

Production CompaniesDistributors

Additional Details

Also Known As:
"Underworld Beauty" - USA (literal English title)
See more »
87 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)


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7 out of 7 people found the following review useful.
Diamonds are forever., 13 May 2008
Author: chaos-rampant from Greece

This early Suzuki entry in the crime genre, set in post-war Tokyo, is as interesting as its premise. Different people trying to recover a set of diamonds from the stomach of a dead guy. And like the McGuffin around which the pulpy story revolves (the diamonds), Underworld Beauty is every bit as beautiful.

Despite sharing many similarities in look and tone with American 40's film noirs, Suzuki here opts for a more subtle approach, infused with black comedy and sweet irony. With great performances from the cast (especially the younger sister of the dead man) and a tight, gripping story, what elevates Underworld Beauty further above standard fare is Suzuki's imaginative camera-work and b/w cinematography. The exterior shots of Tokyo capture the mood of the times, alternating between seedy roads and rundown neighborhoods to hip joints where American sailors are hitting on Japanese girls. Suzuki already had an eye for composition and framing which he would go on to develop later in his career, but here he's happy enough to implement it in the service of a pulpy genre picture.

Like many of the top directors of all time (from Leone to Wilder and Hitchcock), he was able to do genre pictures on studio demand yet instill his personal vision to make what started out as routine affairs into small pieces of art. Underworld Beauty is just that. A rough gem that will especially appeal to film noir fans.

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