6.4/10
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Inugami-ke no ichizoku (2006)

A web of deceit, adultery and greed manifests in Kon Ichikawa's remake of his own 1976 hit about a murder investigation that reveals years of hidden skeletons and a shocking family secret.

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Cast

Cast overview, first billed only:
Kôji Ishizaka ...
...
Kikunosuke Onoe ...
Sukekiyo Inugami / Shizuma Aonuma
Junko Fuji ...
Matsuko Inugami (as Sumiko Fuji)
Keiko Matsuzaka ...
Takeko Inugami
Hisako Manda ...
Umeko Inugami
Shingo Katsurayama ...
Suketake Inugami
Mansaku Ikeuchi ...
Suketomo Inugami
Yukijirô Hotaru ...
Kôkichi Inugami
Toshiya Nagasawa ...
Saruzô
Saburô Ishikura ...
Fujisaki Kanshiki-ka-in
Isao Bitô ...
Senba Keiji
Miki Sanjô ...
Osono
...
Nasu Hoteru Shujin
Kikuzo Hayashiya ...
Kashiwaya no Kyûbei (as Kikuzô Hayashiya)
Edit

Storyline

A web of deceit, adultery and greed manifests in Kon Ichikawa's remake of his own 1976 hit about a murder investigation that reveals years of hidden skeletons and a shocking family secret.

Plot Summary | Add Synopsis


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Details

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Release Date:

16 December 2006 (Japan)  »

Also Known As:

Murder of the Inugami Clan  »

Filming Locations:

 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Goofs

The red hand-print created to confirm the identity of Sukekiyo changes between scenes. When it is made, there are gaps in the palm area of the print. In later scenes, the palm area is filled in. See more »

Connections

Remake of Inugami-ke no ichizoku (1976) See more »

Soundtracks

Tôkyô bugi ugi
(uncredited)
Music by Ryôichi Hattori
Lyrics by Masaru Suzuki
Performed by Shizuko Kasagi
See more »

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User Reviews

 
Unique Ichikawa entertainment.
8 February 2012 | by (Australia) – See all my reviews

Measured, elegant, unique, impeccably made, Ichikawa chose a vintage fifties who-done-it and used the post war setting, the hint of perverted Japanese Industrial power and lashings of violence, with a bit of sex, to create something that is unlike anything else in his or anyone else's output.

Shifting the detective story to a Japan full of returned soldiers, shortages and disrupted tradition and then playing the simple minded material straight faced, complete with the mask over a mask heir to the family fortune that is to be allocated by reading the will, comes with all his life time of technical know how. It makes what is very slow paced gripping and at the same time something closer to art film.

The star presences of Junko Fuji and Nakadai, as a Black & white still photo, produce the touch that confirms that this is not just an old man's pulp fiction.


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