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I Will Buy You (1956)

Anata kaimasu (original title)
Not Rated | | Drama, Sport | 21 November 1956 (Japan)
A talent scout moves sharply, dead-set on signing a promising athlete to his team.

Director:

Masaki Kobayashi

Writers:

Zenzô Matsuyama, Minoru Ôno (story)
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Cast

Credited cast:
Keiji Sada ... Daisuke Kishimoto
Keiko Kishi Keiko Kishi ... Fudeko Taniguchi
Minoru Ôki ... Gorô Kurita
Yûnosuke Itô Yûnosuke Itô ... Ippei Tamaki
Mitsuko Mito
Jun Tatara Jun Tatara ... Yûsuke Shima
Rest of cast listed alphabetically:
Chiyotoshi Beppu Chiyotoshi Beppu ... Kurita's mother
Haruko Chichibu Haruko Chichibu ... Geisha
Yoshitaka Ebitsuka Yoshitaka Ebitsuka ... Chief priest
Tokue Hanazawa Tokue Hanazawa ... Eiji Kurita
Shinkichi Hayabusa Shinkichi Hayabusa
Zenichi Inagawa Zenichi Inagawa
Tatsuya Ishiguro ... Tadasuke Rokkô
Akio Isono Akio Isono ... Saburô Kurita
Haruko Kamei Haruko Kamei ... Schoolgirl
Edit

Storyline

Kobayashi's pitiless take on Japan's professional baseball industry is unlike any other sports film ever made. An excoriation of the inhumanity bred by a mercenary, bribery-fueled business, it follows the shark-like maneuvers of a scout dead set on signing a promising athlete to the team the Toyo Flowers. Written by Anonymous

Plot Summary | Add Synopsis

Genres:

Drama | Sport

Certificate:

Not Rated
Edit

Details

Country:

Japan

Language:

Japanese

Release Date:

21 November 1956 (Japan) See more »

Also Known As:

I Will Buy You See more »

Company Credits

Production Co:

Shochiku See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

1.37 : 1
See full technical specs »

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User Reviews

 
nope
5 July 2016 | by treywillwestSee all my reviews

One of the most cynical sports movies ever made. Baseball is the metaphor for imported American capitalism in post-war Japan. Professional sports, much like "capitalist democracy" is legally sanctioned human trafficking. The irony here is that the trafficked "product" is one of the worst predators.

Everyone in this film assumes everyone else is lying and acts accordingly. The, almost optimistic in its way, ending affirms that sometimes someone really is suffering without manipulative affectation. Illness and death are real and seem like the most affirmational forces in the movie. Maybe, just maybe, suffering can even inspire actual love and tenderness even in the age of capitalism.


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