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The Sun's Burial (1960)
"Taiyô no hakaba" (original title)

 -  Drama  -  2 January 1985 (USA)
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Ratings: 7.1/10 from 440 users  
Reviews: 4 user | 13 critic

In Osaka's slum, youth without futures engage in pilfering, assault and robbery, prostitution, and the buying and selling of identity cards and of blood. Alliances constantly shift. Tatsu ... See full summary »


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Title: The Sun's Burial (1960)

The Sun's Burial (1960) on IMDb 7.1/10

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Complete credited cast:
Masahiko Tsugawa ...
Shin, leader of gang
Kayoko Honoo ...
Isao Sasaki ...
New gang member Takeshi
Fumio Watanabe ...
Kamatari Fujiwara ...
Batasuke, peddlar
Tanie Kitabayashi ...
Chika, Batasuke's wife
Junzaburô Ban ...
Yotsematsu, Hanako's father
Rest of cast listed alphabetically:
Jun Hamamura ...
Goro Murata
Bokuzen Hidari ...
Kyu Ito ...
The 'horse'
Yûsuke Kawazu ...
Gang member
Asao Koike ...
Black Glasses
Hôsei Komatsu ...
Ichirô Nagai ...
The 'lance'
Koji Nakahara ...
Gang member


In Osaka's slum, youth without futures engage in pilfering, assault and robbery, prostitution, and the buying and selling of identity cards and of blood. Alliances constantly shift. Tatsu and Takeshi, friends since boyhood, reluctantly join Shin's gang. Shin's an upstart and moves his gang often to avoid the local kingpin. Hanoko is a young woman with ambitions: first she's in the blood business with her father, then she joins forces with Shin. She soon breaks off that partnership, even though she's taken the sensitive Takeshi under her wing. Double crosses multiply. Those with the closest bonds become each others' murderers. Written by <>

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Plot Keywords:

gang | youth | japan | box office hit




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Release Date:

2 January 1985 (USA)  »

Also Known As:

The Sun's Burial  »

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Production Co:

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Technical Specs


Sound Mix:



Aspect Ratio:

2.35 : 1
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User Reviews

Dark and brilliant...
29 July 2007 | by (France) – See all my reviews

Haunting, melodic, melancholic, poetic... many more praising adjectives suit this movie. It marks the birth of Japanese modern cinema. Oshima brilliantly continues the masters Mizoguchi and Ozu, while at the same time marking a big turn in style and themes.

The movie is modern in both: style and themes. I dare saying that this style marked many great contemporary directors (as different as Tarantino, Jia Zhang-KE or Michael Mann). It has, for instance, a questioning and a renewal of the dramatic content that a scene can exhibit. Another novelty in Oshima's style is the manner in which he treats social themes: a mixture of documentary-style and fiction-style, greatly developed later by Jia Zhang Ke, and having an affiliation with the French nouvelle vague (the time overlap is no coincidence).

As for the themes: even if Mizoguchi was already interested in social problems and their reflection upon the individual, he was never so pessimistic as Oshima. Watch the movie and you'll see what I mean. But, in spite of a much more cruel view upon society, Oshima has the same deep message as Mizoguchi: the beauty. You can see it in every scene. Look carefully: there is much light in this dark movie!

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