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What can I say about “Jigoku”? It was certainly a film I looked forward to seeing, one that I had heard advantageous things about. Quite frankly, what movie called “Hell” wouldn’t at least be worth a behold. However, while I admired the movie and would cautiously recommend it, I have to face the facts that I didn’t particularly like it. Yet it’s easy for me to study some camps claiming “masterpiece” dwelling for this strange film–and objective as easy to gaze others deriding it as “trash”. As a film, it’s really neither–but I don’t dismiss it out of hand. Given the context that it’s a Japanese film from 1960–the imagery is quite striking, visually alluring and seems to have had an influence on many other films even to this day.
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The setup is bright, and the characters are well presented. But you know something is off from the beginning. There are hallucinatory elements pain into our hero’s daily life and his best friend appears to be an omnipresent evildoer. But unbiased as soon as you gather archaic to things, we’re whisked off to another city I like to call “crazytown”. Most of the characters presented here are petty, mean, corrupt–and worst of all not really developed. I wondered why we were being introduced to so many one dimensional villains. Then the respond came to me as people started dropping stupid left and right–I realized we would soon be seeing them in “Hell”.
The message I got from “Jigoku” is that most of us are sinners and murderers in life, and we will pay for those sins. Even those characters that are seemingly without sins are punished for loving the sinners. And “Hell” is where everyone pays the trace.
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The finale of the film does rob site in “Hell”. It is beautifully constructed, and I hold quite well done. It’s very theatrical–if you’re looking for gory realism, you’re going to need to peruse elsewhere. If I was to recommend the film, it would most likely be for these sequences. But by this time, I had lost all track of any epic drive in the film–so the images were all I was left with.
So–worth seeing? I own so. Delicious? I’ll leave that up to you. KGHarris, 9/06.
I found it keen to spy this. It is being touted as a dread film. Would I recommend it to a awe fan? A apt maybe. It is an broken-down Japanese film (1960) . It will be something very alien to its display target audience. Most viewers will be odd with the cultural/religious context in which it is location. Although Jigoku is correctly translated as Hell, it is not the Judaeo-Christian Hell that most viewers would have in mind. This is a Buddhist vision of Hell. It may gape visually similar to western portraits of Hell but the entire idea is very different. The film presupposes the audience’s familiarity with Buddhist beliefs. Firstly there is no God in unusual Buddhism. No supernatural deity sends Shiro’s soul to Hell. In this Buddhist worldview, Shiro is in Hell simply because he believes he deserves to be there for what he perceives as his crimes in his previous life. Viewed at dispassionately, Shiro is blameless in most, if not all of his “crimes” and certainly not deserving of damnation to Hell in the western sense. Hell in Buddhism is also not eternal. (In this sense it is almost like the Catholic thought of Purgatory) . The Buddhist Hell is simply one stage (the lowest) in the Wheel of Life, from which everyone can leave if they gain the distress. So the film is not as pessimistic, arbitrary and utterly devoid of hope as it would appear to most western audiences. Shiro and all the others will eventually work their plan out of Hell to a higher plane of existence. Tamura, described here by the western term “doppelganger”, is a Hell-being and a soul in his possess true. Although Tamura too can work his draw out of Hell, he chooses not to, and is condemned to show his torment until he learns his lesson and earns progression to the next level. The final scene is a visual metaphor for the Broad Mandala, the Wheel of Life. Shiro is vainly trying to advance and rescue his child on the other side of the Wheel as it ceaselessly turns. We witness him struggling hopelessly without success moral up to the final freeze-frame. Left unsaid is what will happen given time. Shiro will eventually learn that the key to saving his child is to let go and gain off the Wheel, allowing the turning Wheel to bring his child to him. That for him will be enlightenment, and with enlightenment he will be ready to leave Hell and progress to the next stage in Life. Viewed in that light, the film has an optimistic, even uplifting ending, very different from what a western audience would infer.
The scare effects may have been trustworthy in their day but they are very dated now and stare decidedly amateurish. Most of the tortures depicted, are worn tortures featured in Eastern mythological portraits of Hell and you can glimpse them depicted in texts, temples and theme parks across East Asia. If you are seeing it mainly for the shock or terror effects, don’t bother. But it is a appealing perceive at a wholly different worldview from what most westerners would be exposed to. It remains a intelligent work in its occupy upright and deserves recognition for that alone, rather than for simply being another “J-horror” movie.
Criterion’s DVD is as usual very professionally produced. The print looks its age. But it is well-kept, undamaged, and aside from a jumping frame here and there, is very honorable. It is presented in its OAR of 2.35:1 (anamorphic) . Colours are very sombre, drab and murky for the most share, occasionally punctuated by hellish crimsons which glance impressive when they appear. Sound is in the new Japanese 1.0 Mono and is perfectly serviceable. Optional English subtitltes are provided.
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