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Shark Skin Man and Peach Hip Girl (1998)

Samehada otoko to momojiri onna (original title)
In dreamlike mountain scenery, Toshiko makes a daring escape from her sexually warped Uncle Sonezaki. Fortunately, she met Samehada as she runs for her life, which is also escaping from ... See full summary »


Katsuhito Ishii


Katsuhito Ishii, Minetaro Mochizuki (comics)

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Cast overview, first billed only:
Tadanobu Asano ... Kuroo Samehada
Ittoku Kishibe Ittoku Kishibe ... Tanuki
Sie Kohinata Sie Kohinata ... Toshiko Momojiri
Kimie Shingyôji Kimie Shingyôji ... Mitsuko Fukuda
Susumu Terajima Susumu Terajima ... Sawada
Shingo Tsurumi Shingo Tsurumi ... Mitsuru Fukuda
Daigaku Sekine Daigaku Sekine ... Sakaguchi
Kô Takasugi Kô Takasugi ... Sorimachi
Shingoro Yamada Shingoro Yamada ... Taniguchi
Hitoshi Kiyokawa Hitoshi Kiyokawa ... Maruo
Yôji Tanaka Yôji Tanaka ... Asahina (as Boba)
Keisuke Horibe ... Inuzuka
Yoshiyuki Morishita Yoshiyuki Morishita ... Hidari
Kanji Tsuda Kanji Tsuda ... Fukazume
Yôhachi Shimada Yôhachi Shimada ... Michio Sonezaki


In dreamlike mountain scenery, Toshiko makes a daring escape from her sexually warped Uncle Sonezaki. Fortunately, she met Samehada as she runs for her life, which is also escaping from some slayers. What follows is a wild chase that leads the audience into a comically violent world. Written by L.H. Wong <lhw@sfs.org.sg>

Plot Summary | Add Synopsis

Motion Picture Rating (MPAA)

Rated R for violence, sexuality and brief language | See all certifications »

Parents Guide:

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Release Date:

6 February 1999 (Japan) See more »

Also Known As:

Shark Skin Man and Peach Hip Girl See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:




Aspect Ratio:

1.85 : 1
See full technical specs »

Did You Know?


Referenced in Shooting Shona (2004) See more »

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User Reviews

Trainspotting + The Professional + Pulp Fiction + Japanese Manga = COOL!
4 December 1998 | by Sat-2See all my reviews

I saw S.S. Man & P.H. Girl at the Hawaii International Film Festival in Nov. 98, and it took my breath away. This flick is the funniest, coolest, most invigorating piece of eye candy I've ever seen. Based on a Japanese manga, this debut film from Ishii (previously a director of Japanese commercials) is a road movie about a young woman on the run from her domineering and perverted uncle who meets up with a young man on the run from the stylish gangsters he's ripped off. The gangsters are the funniest, most outrageous, coolest bunch of baddies I've ever seen. Their dialogue is great, their costumes are incredible, and they're all so enjoyable to watch that it's always sad when one gets rubbed out. The uncle also sends someone after the pair on the run, a diminutive little freak who would totally steal the show in any other movie. Here, he just adds to the mix.

I can't really describe how much I enjoyed this movie, but I remember that at the end of it, my face hurt from smiling so much. I think I was grinning during the entire film... If you're a fan of the films of Lynch, Tarantino, Jeunet, Boyle, Besson, the Coens, John Woo, Ringo Lam, and Tsui Hark, then you have GOT to see this movie. The funny thing about S.S. Man and P.H. Girl is that it's so over-the-top that you know it's a parody of the work of some of the above directors, but the damn thing is so much fun that it actually works as a "cool lovers on the run movie," and not just a parody of one. In fact, I thought it worked so well that it is now my favorite film of this genre. Tarantino was in the audience when I saw this movie, and when Ishii answered questions at the end of the film, and someone asked him who influenced him, he grinned at QT, and said (through his translator) something like "I think you know the answer to that." (subsequently QT hired Ishii to direct the animated sequence in Kill Bill, so I guess they hit it off). Perhaps the lesson here is that there's no such thing as too derivative.

Some people note that the film has some slow moments. Interestingly, having seen the movie quite a few times by now, what sticks with me now are some of the quieter romantic and/or contemplative moments, especially the penultimate scene in the car where Samehada's former partner talks about seeing God.

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