After World War II, some Tokyo prostitutes band together with a strict code: no pimps, attack any street walker who comes into our territory, defend the abandoned building we call home, and... See full summary »
Middle-aged artistes provide the focus of this drama filmed in black and white. The story is set in Paris around the time of the Gulf War. Paul is an actor leading a drab directionless ... See full summary »
Johanna ter Steege
A bad cop is engaged in a violent chase to catch a yakuza boss. In his absence his wife runs away with another man, who turns out to be the very same man that her husband is hunting. Once ... See full summary »
Old Prof. Preobrazhensky and his young colleague Dr. Bormental inserted the human's hypophysis into a dog's brain. Couple of weeks later the dog became "human looking". The main question is... See full summary »
Also known as The Madness of Youth - if you want to find this one on the internet, that's the title I found it under. And you'll want to find this one. It's one of Suzuki's best. It shares many similarities with Koreyoshi Kurahara's The Warped Ones, which I watched (and reviewed) a while back, and it even stars the same actor, Tamio Kawaji, again playing a disaffected youth (Everything Goes Wrong came out less than a month afterward). In The Warped Ones, Kawaji was a total ass, completely despicable. He's kind of despicable here, but the story does more to redeem him - to show that he's just a confused child rebelling against his elders.
After his father died in the war, his mother shacked up with a rich, married man. Fifteen years later, he's still hanging around, and Kawaji thinks of his mother as a prostitute. He kind of thinks of all women that way. It doesn't help that the women he hangs around with are extremely promiscuous (while this comes before the era of the true pinky films, the descriptions of sex are surprisingly graphic). The film is very moralistic, but the characters are well written, and the script flows quickly between several different plot lines (it runs a mere 71 minutes but feels absolutely stuffed - though not overstuffed). The real star, of course, is Seijun Suzuki. It's often said that Suzuki was nothing but a factory worker for Nikkatsu at the time. That may be, but a Hell of a worker he was, and his camera darts around breathlessly and beautifully. You know that famous between the legs shot in Kurosawa's Yojimbo? Suzuki beat him to it by a year (he probably wasn't the first either, but I know I always associate that shot with Yojimbo). The editing is also tremendous, although, supposedly, Suzuki would have nothing to do with that. After all, this was just one of four films the director would make in 1960.
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