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Fukushû suru wa ware ni ari (1979)
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Overview
User Rating:
Director:
Writers:
Release Date:
17 October 1979 (USA)
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Plot:
Chronological exploits of Iwao Enokizu, a murderous thief on the lam. full summary | add synopsis
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Awards:
21 wins
&
6 nominations
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User Comments:
Personifies everything that is amazing about Japanese cinema
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Cast
(Cast overview, first billed only) | Ken Ogata | ... | Iwao Enokizu |
| Rentarô Mikuni | ... | Shizuo Enokizu |
| Chocho Miyako | ... | Kayo Enokizu (as Chôchô Miyako) |
| Mitsuko Baisho | ... | Kazuko Enokizu (as Mitsuko Baishô) |
| Mayumi Ogawa | ... | Haru Asano |
| Nijiko Kiyokawa | ... | Hisano Asano |
| Taiji Tonoyama | ... | Tanejiro Shibata |
| Goro Tarumi | ... | Daihachi Baba (as Gorô Tarumi) |
| Moeko Ezawa | ... | Chiyoko Hata |
| Kazuko Shirakawa | ... | Sachiko Yoshizato |
| Frankie Sakai | ... | Kawai Keibu (as Furankî Sakai) |
| Torahiko Hamada | ... | Yoshino Chôsakan |
| Yasuhisa Sonoda | ... | Kuwata Keibuho |
| Akira Hamada | ... | Ichikawa Keiji |
| Kazunaga Tsuji | ... | Kuchiishi Keiji |
Additional Details
Also Known As:
Vengeance Is Mine (USA) (literal English title)
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Parents Guide:
Runtime:
140 min | Sweden:130 min | USA:139 min
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Aspect Ratio:
1.85 : 1 more
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Fun Stuff
Movie Connections:
Features Osvobozhdenie (1969)
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This FAQ is empty. Add the first question.more (22 total)
Message Boards
Discuss this movie with other users on IMDb message board for Fukushû suru wa ware ni ari (1979)| Recent Posts (updated daily) | User |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb Japan section |
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Immamura Shohei, one of Japan's best directors, does not put a foot wrong in VENGEANCE IS MINE, one of the best films ever made.
This is a searing, raw, uncompromising study of a disturbed, callous, opportunistic killer, husband and son.
The film, running just over two hours, takes an almost doco-style approach to the crimes of its protagonist (played with chilling conviction by Ken Ogata) and takes great pains to examine the impact his behavior had on his mother, father and wife.
A flashback, which goes some way towards explaining how Ogata developed such a disdain for authority, is a masterstroke of cinematic brevity.
Although Immamura is known mostly for such brilliant work as THE PORNOGRAPHERS, BLACK RAIN and the excellent THE EEL, this is surely his crowning achievement, a film so rich and involving that it personifies everything that is so amazing about Japanese cinema, truly a cinema of the soul.