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Violence at Noon (1966)
"Hakuchû no tôrima" (original title)

 |  Drama  |  15 July 1966 (Japan)
7.2
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Ratings: 7.2/10 from 533 users  
Reviews: 6 user | 20 critic

Hakuchu no Torima" is the portrayal of a violent rapist as seen through the recollections of his wife and one of his victims. As the film starts, Eisuke (Kei Sato) encounters Shino (Saeda ... See full summary »

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Title: Violence at Noon (1966)

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Cast

Credited cast:
Hideo Kanze ...
Inagaki, husband of the raped woman
Hideko Kawaguchi ...
Matsuko's mother
Saeda Kawaguchi ...
Shino Shinozaki
Narumi Kayashima ...
Jinbo, teacher
Teruko Kishi ...
Shino's grandmother
Hôsei Komatsu ...
Shino's father
Akiko Koyama ...
Matsuko Koura, wife of Eisuke, teacher
Kei Satô ...
Eisuke Oyamada
Ryôko Takahara ...
Raped woman
Taiji Tonoyama ...
School director
Rokkô Toura ...
Genji Hyuga
Fumio Watanabe ...
Inspector Haraguchi
Sen Yano ...
Mayor
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Storyline

Hakuchu no Torima" is the portrayal of a violent rapist as seen through the recollections of his wife and one of his victims. As the film starts, Eisuke (Kei Sato) encounters Shino (Saeda Kawaguchi), who works as a maid in a house. She is a former coworker from a failed collective farm, whose life he once saved -- only to rape her. Soon, Eisuke's criminal pattern of rapes and murders emerges as he goes on assaulting women (Shino being the witness of one of them, as Eisuke tries to violate her employer). When cooperating with the police on making a description of the rapist, Shino withholds her crucial knowledge of his identity. She prefers writing letters to Eisuke's dutiful wife, Matsuko, a schoolteacher (Akiko Koyama -- Mrs Oshima), in order to expose his true nature and perhaps induce her into turning Eisuke over to the police. Written by miclea daniel

Plot Summary | Add Synopsis

Genres:

Drama

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Details

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Release Date:

15 July 1966 (Japan)  »

Also Known As:

Violence at Noon  »

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The movie is made up of 1,508 takes. The average shot length is 4.5 seconds. See more »

Connections

References Twenty-Four Eyes (1954) See more »

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User Reviews

Two women deal with the fact that a man in their lives is a cereal rapist.
27 August 2011 | by See all my reviews

I really don't know why Oshima's early films have taken so long to become available in the U.S. They are spectacular! I suppose because their thematic content is so specific to the Japan of the post-war "reconstruction" at the hands of the Americans. As radical, contemporary, and at times experimental as Oshima's films from this era were, his landscapes, to my eye, more closely resemble the tradition of Japanese landscape-painting than those of Kurosawa or Mizoguchi. In this film, the past is captured in just such painterly, deep-focus majesty, with dizzying zooms thrown in just to leave you disoriented. The present is soft, blurry, almost indiscernible at times. I'm interpreting the political content of this violent, lude, nasty story to deal with Japan's inability to live up to its WWII atrocities, or from a different perspective, the ease with which it forgave itself. I admit that I don't see how the last scenes fit into that interpretation, but that doesn't make those scenes any less haunting.


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