Unagi (1997)

Director:

Shohei Imamura

Writers:

Shohei Imamura (writer)
Daisuke Tengan (writer)

Release Date:

21 August 1998 (USA)

Genre:

Drama

Plot:

White-collar worker Yamashita finds out that his wife has a lover visiting her when he's away, suddenly returns home and kills her...

Plot Keywords:

Barber Shop | Sex Scene | Barber | Blood | Eel

Awards:

14 wins & 13 nominations

Cast

Kôji Yakusho	...	Takuro Yamashita
Misa Shimizu	...	Keiko Hattori
Mitsuko Baisho	...	Misako Nakajima
Akira Emoto	...	Tamotsu Takasaki
Fujio Tsuneta	...	Jiro Nakajima
Sho Aikawa	...	Yuji Nozawa
Ken Kobayashi	...	Masaki Saito
Sabu Kawahara	...	Seitaro Misato
Etsuko Ichihara	...	Fumie Hattori
Tomorowo Taguchi	...	Eiji Dojima
Chiho Terada	...	Emiko Yamashita
Shinshô Nakamaru
Sei Hiraizumi
Seiji Kurasaki
Toshirô Ishido

Also Known As:

The Eel (USA)

Runtime:

117 min

Country:

Japan

Language:

Japanese

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Iceland:16 | New Zealand:R18 | Argentina:16 | Chile:18 | Hong Kong:IIB | Norway:15 | Portugal:M/12 | South Korea:18 | Sweden:15 | UK:18 | Australia:R

Company:

Eisei Gekijo

Movie Connections:

Featured in Especial Cannes: 50 Anos de Festival (1997) (TV)

Truly Unpredictable, Bold, Inventive Film-making

The Eel does something so imaginative and effective in the way it tells its story. It really makes the audience interact. Explaining this would ruin its effect, a sort of thing rarely experienced anymore in filmgoing. It's difficult to find movies that actually redirect your thinking and stimulate you and make you suffer in that great, fulfilling way. So, I will leave you to take my word for it. What is amazing about what The Eel does is how it really enlightens the audience when it comes to the judgment and expectations of characters. The Eel probes meticulously and sneakily the strange progression of a person.

Shohei Imamura, the film's cunning, subtle, and seemingly offbeat director, fashions the opening murder with what is in the first nanosecond of reaction aggravating and promptly recognized as a brilliant little effect. As the movie's main character stabs his cheating wife to death after slashing her frightened adulterous lover, blood sprays all over the camera, the scene becoming skewed and blurred through the bloodied lens, forcing us naturally to want to peer around it to see as clearly as we can the violence the character continues to commit. And at that point we realize, as is Imamura's intention, that we are the audience and that there is the movie, and that we are voyeurs who so badly anticipate such things as the passionately vindicating slaughter of a coldly adulterous lover. And from there, Imamura exploits the weakness he knows we have, but in what way cannot be predicted.

Later in the film, Imamura stages a ballistic, ungraceful fight that includes many characters, but with a relentlessly stationary camera. No matter how intricate certain actions get, he refuses to let it be anything more than observed. His intentions are all to make us conscious of what we are thinking as we watch these scenes. It's a creative intelligence applied more and more rarely all the time.

The cast is very carefully balanced. Certain characters are animated, some eccentric, some very stoic, and some are combinations of all three, yet they never become even remote resemblances of clichés. They are all meant to oppose or serve as comparison to each other in nature and chemistry.

Another plus is the film's purposely awkward, infectiously gawky musical score that, like most music in Japanese films, is recurrent and sustained, a repeated series of only a handful of melodies that are very memorable.