IMDb > Jigoku no banken: akai megane (1987)

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A surreal science fiction noir involving a man trapped in a future where seemingly everyone is a government spy and all-night noodle stands are outlawed. | Add synopsis »
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A work that can be viewed only within the context of Oshii's total output. See more (11 total) »


  (in credits order)
Shigeru Chiba ... Koichi Todome
Machiko Washio ... Midori Washio
Hideyuki Tanaka ... Soichiro Toribe
rest of cast listed alphabetically:
Hideyo Amamoto ... Moongaze Ginji
Tesshô Genda ... Bunmei Muroto
Mako Hyôdô ... Young Lady
Yasuo Ôtsuka ... Taxi Driver

Directed by
Mamoru Oshii 
Writing credits
(in alphabetical order)
Kazunori Itô 
Mamoru Oshii 

Produced by
Daisuke Hayashi .... producer
Shigeharu Shiba .... producer
Original Music by
Kenji Kawai 
Cinematography by
Yousuke Mamiya 
Film Editing by
Seiji Morita 
Sound Department
Kunio Kuwahara .... sound re-recording mixer
Yasufumi Yoda .... sound effects
Camera and Electrical Department
Yoshimi Hosaka .... lighting technician

Additional Details

Also Known As:
"The Red Spectacles" - Japan (English title) (informal title)
See more »
Japan:116 min
Aspect Ratio:
1.85 : 1 See more »

Did You Know?

Director Trademark: [Mamoru Oshii] [bassett hound]See more »
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0 out of 2 people found the following review useful.
A work that can be viewed only within the context of Oshii's total output., 13 January 2008
Author: Gordon Cheatham (cheathamg) from California

I watched the trilogy by Mamoru Oshii. The words surreal, Orwellian and Kafkaesque come to mind. However, despite all their bizarre aspects I believe they are essentially jokes. The darkness was there as a chiaroscuro backdrop to highlight the humor. The first, Red Spectacles, is about a man who can not let go of his past not matter how painful and dangerous it was because he never felt more alive that when he was facing death. The second, Stray Dog, shows that man during an interim period when he seems to be almost at peace, being brought back to that death-seeking modus operandi which precipitates the events of the first film. The third film, Talking Head, while not directly related to the events of the first two, does refer back to them as a man attempts to create truth out of illusion. The idea is that film, as an art form, is essentially an exercise in madness and that illusion is finally a higher truth, an idea that was touched on in the first film. But it is the humor that is Oshii's ultimate goal. He doesn't want to make highly significant pronouncements on the nature of humanity and reality. He just wants to tell a story, and if the story is funny, all the better. I suppose that many parallels could be drawn between Oshii's work and that of Philip K. Dick.

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