A dying businessman intends to will two hundred million yen to his three illegitimate children, but his associates scheme to take advantage of the situation.
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Title: The Inheritance (1962)
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1 win & 1 nomination.
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Cast
| Cast overview, first billed only: | |||
| Keiko Kishi | ... | Yasuko | |
| Tatsuya Nakadai | ... | Kikuo Furukawa | |
| Sô Yamamura | ... | Senzô | |
| Seiji Miyaguchi | ... | Yoshida (lawyer) | |
| Yûsuke Kawazu | ... | Sadao | |
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Mari Yoshimura | ... | Mariko aka Mari |
| Minoru Chiaki | ... | Junichi Fujii | |
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Misako Watanabe | ... | Rie, Senzô's wife |
| Osamu Takizawa | |||
| Kôji Mitsui | |||
| Tôru Abe | ... | Detective | |
| Jun Hamamura | |||
| Kinzô Shin | |||
| Noriko Sengoku | |||
| Kin Sugai | |||
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Plot Summary
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Storyline
On his deathbed, a wealthy businessman announces that his fortune is to be split equally among his three illegitimate children, whose whereabouts are unknown to his family and colleagues. A bevy of lawyers and associates then begin machinations to procure the money for themselves, enlisting the aid of impostors and blackmail. Yet all are outwitted by the cunning of the man's secretary (Keiko Kishi), in this entertaining condemnation of unchecked greed. Written by Anonymous
Genres:
DramaParents Guide:
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Goofs
In the title credits, the names "Yukio Ninagawa" and "Shinya Mizushima" are listed two times. See more »Quotes
Kikuo Furukawa: I've got a favor to ask. It's embarrassing. But a coffin is waiting for me, so I can say this plainly. I don't have any legally recognized children. But I do have children. To top it off, I've got three of them. Some may be dead. But there's no way all three are dead. So I want you to find my children. I don't mean to legally acknowledge them and their heirship right away. Some may have grown up to be scoundrels. But if any of them are suitable, I'd like to add them as heirs.See more »
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Details
Country:
JapanLanguage:
JapaneseRelease Date:
24 February 1964 (USA) See more »Also Known As:
The Inheritance See more »Company Credits
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Worked through all of Kobayashi's higher profile movies during 2020, but it'll be nice if his less well-known stuff all turns out to be as good as this.
The story isn't quite as engaging as the narratives displayed in The Human Condition trilogy, Harakiri, or Kwaidan, but it's still interesting for most of its runtime.
I did like the noir feel, especially the jazzy soundtrack and the voiceover, and it's nice to see a female protagonist (who isn't your typical femme fatale) in a noirish movie like this.
It's probably a more minor work in his overall filmography, but yeah, still pretty good.