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    3. Vengeance is Mine (1979) [Masters of Cinema #17]

    Vengeance is Mine (1979) [Masters of Cinema #17]

    Posted By: Someonelse
    Date: 29 Nov 2011 08:32:00
    Vengeance is Mine (1979) [Masters of Cinema #17]

    Vengeance is Mine (1979) [Masters of Cinema #17]
    A Film by Shôhei Imamura
    DVD9 | VIDEO_TS | PAL 16:9 (720x576) | Cover+DVD Scan | 02:15:45 | 6,96 Gb
    Audio: Japanese AC3 1.0 @ 256 Kbps + Commentary track | Subtitles: English
    Genre: Crime, Drama | 21 wins | Japan

    Based on the true story of Iwao Enokizu (Ken Ogata) and his murderous rampage which sparked a 78-day nationwide manhunt, Shôhei Imamura’s disturbing gem Vengeance Is Mine [Fukushû suru wa ware ni ari] won every major award in Japan on the year of its release. Both seducing and repelling with its unusual story and grisly humour, Imamura uncovers a seedy underbelly of civilised Japanese society.

    Unfolding through multiple flashbacks, Ogata delivers a career-defining performance as a day-labourer and smalltime con-artist who, after killing two of his co-workers, embarks on a psychopathic spree of rape and murder. Eluding the police and public, Japan’s infamous “King of Criminals” passes himself off as a Kyoto University professor, only to become entangled with an innkeeper and her perverted mother. Five years in the making, Vengeance Is Mine transcends the limitations of run- of-the-mill criminal studies by presenting a portrait of a killer imbued with a poignant, tragic banality.

    IMDB
    Eureka - The Masters of Cinema
    DVDBeaver

    Shohei Imamura’s Vengeance is Mine deftly combines cold impartiality and unerring perceptiveness to create one of the most impressive and troubling serial killer movies of all time. Based on true events, the film chronicles the murderous rampage of one Iwao Enokizu (Ken Ogata) who, over the course of a 78-day crime spree, habitually killed and robbed countless victims. At the beginning of the movie, Imamura shows us Iwao’s eventual capture, and the distancing effect contributes a great deal toward keeping the movie from exploiting the crimes in the way that a typical suspense film would. Throughout the movie, Imamura’s extreme formalism minimalizes the amount of traditional suspense that the audience can feel. Most films employ shakier camera movements during action scenes, but Imamura has a tendency here to grow more still whenever his characters behave most extremely, and that gives the impression that it’s at those times that he finds them most inscrutable. While there are individual shots that create some traditional suspense, they are the exception to the rule, since any move to paint Iwao as a villain would place judgment on him that Imamura seems to feel is undue. After the audience is shown Iwao’s first few murders in graphic detail, most of them are moved off screen and relayed to the audience through dialogue or snippets of police reports to minimize any prurient impulses that might arise from their presentation.

    Vengeance is Mine (1979) [Masters of Cinema #17]

    Since Iwao is a real figure, Imamura appropriately treats his existence as an unquestionable fact instead of as a glorified metaphor. Though he is always probing the character’s motivation, he presents him neither as an unquestionable scourge to society nor someone who operates above its rules. Because of the sheer objectivity of Imamura’s style, the responsibility can’t rest comfortably with any one party, nor can the simple classification of Iwao as a psychopath answer enough of the audience’s questions about him. We find that Iwao has a devout Catholic background, a troubled marriage, a previous criminal record, and an insatiable sexual appetite, but none of those factoids satisfactorily explain what it is that makes him explode into violence. True to the themes that exist in his other films, Imamura most seems to think Iwao’s unchecked primal impulses are to blame. In one early scene, we see Iwao, who has just murdered someone, wash the blood off of his hands by urinating on them. Right afterward, he takes a persimmon from a nearby tree with his unclean hands and takes a bite from it, only to discard it when he finds it unacceptable. Something about his nature becomes clear. When he loses control of his sanity, he is living in the moment, and essentially overriding any checks put on his behavior by society in his pursuit of transitory pleasures.

    Vengeance is Mine (1979) [Masters of Cinema #17]

    As Imamura continues to study Iwao, he uncovers further layers of his behavior, and always attempts to achieve a deeper understanding of him by refusing to settle for comfortable solutions to the puzzle of his character. Though Iwao’s realization of the horrors that he’s capable of turn him into a nihilist, he still has a profound desire for freedom that makes him continue running. When he returns from prison and finds his wife has slept with another man, he still is programmed enough by society to be outraged by her transgression. Imamura is always changing his perspective on Iwao so that it’s impossible to see him as a stock character. As in most of the director’s work, there are darkly humorous moments (the best of which play like a bastardized Ozu movie) squeezed alongside horrifically brutal ones. All of the contradictions in Iwao essentially undermine the audience’s ability to pigeonhole him, and make the movie register on a deeper level than if were content to turn him into a monster. The meekness of those that Iwao meets during his reign of terror clearly critiques our willingness to be complacent, whether through fear or ignorance, with unknown forces. His film constantly investigates its protagonist so that the audience can’t ever feel that sort of acceptance of such an unnatural presence yet at the same time suggests that a society that can ignore the warning signs that Iwao sends off is itself unnatural. Quite literally, Imamura has created here a protagonist that’s impossible to put easily to rest, and the ramifications of his examination reflect upon us all by showing how much we’re willing to ignore to achieve piece of mind. Though at the end of Vengeance is Mine the audience might not understand the motives of the murderer clearly, it’s almost inevitable that they will exit the film with a heightened sense of the complexities of human nature.
    MovieMartyr
    Vengeance is Mine (1979) [Masters of Cinema #17]

    A masterpiece of Japanese cinema, Imamura's profile of a vicious sociopath boldly digs into the soul (or lack thereof) of its central character and post-war Japan. Gripping and haunting, it's a strikingly timeless film.

    After watching the government undermine his father's business, Iwao Enokizu (Ogata) has led a life of rebellion and mayhem. Now in 1963, at age 37, he turns to murder and theft, going on a cross-country rampage starting with the sudden killing of two friends (Baba and Shibata), heaping even more humiliation on his parents (Baisho and Miyako) and his achingly lonely wife (Mikuni). While the manhunt widens, he hides with an ex-con innkeeper (Kiyokawa) and her daughter (Ogawa), who pays the bills with sex.

    Vengeance is Mine (1979) [Masters of Cinema #17]

    The story's told out of sequence, with flashbacks swirling around scenes of Iwao's police interrogation and the narrative backbone of his murderous odyssey. But this is more than a crime thriller; it really digs into the characters' desperation, agony, action and inaction. The one exception is Iwao himself–he is a smiling, heartless, compulsive criminal without even a hint of a conscience. He seems to murder simply because he doesn't have the imagination to do anything else. Vengeance is his feeble excuse.

    Vengeance is Mine (1979) [Masters of Cinema #17]

    And putting such a merciless black hole at the centre of the film is what makes it so remarkable. Ogata is note-perfect–we can see why people are drawn to his intelligence and charm, even as we know he's up to no good at all. All around him, the strong cast vividly expose their Christian guilt, misplaced passions and family dysfunction. We can see why Iwao seems to be such a ray of hope to them, even though he's brazenly throwing life away.

    Vengeance is Mine (1979) [Masters of Cinema #17]

    Imamura films with style and energy, combining snappy humour and creepy subtext. It's electric right from the start, taunting us with its expressive visual imagery and jazzy Dragnet-style score. And the themes gurgling underneath the plot give the film a strong depth, mainly in the economic and religious issues that create a society that requires a seedy undercurrent to maintain the shiny surfaces. Utterly essential cinema.
    Shadows on the Wall
    Vengeance is Mine (1979) [Masters of Cinema #17]

    Special Features:
    - All-new improved English subtitle translation
    - Audio commentary by noted critic and filmmaker Tony Rayns
    - Video introduction by director Alex Cox
    - Original Japanese trailers
    Vengeance is Mine (1979) [Masters of Cinema #17]


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