Viewed on DVD. Studio Director Shouhei Imamura delivers a gruesome tale about the product of a dysfunctional family who ends up as a remorseless killer (as well as an accomplished minor con artist). This Shochiku programmer is apparently based on a documentary-style book which, in turn, is based on actual events. The photo play tries to embrace and regurgitate both data sources which results in a schizophrenic movie that suffers from excessive "ancestor worship." Initially, the Director tries combining flashbacks with documentary-style filming (which never play well together), but quickly abandons this approach (much to the viewer's relief who would otherwise need a spreadsheet to keep track of things!). Early murder scenes are unintentionally hilarious, as characters just plain refuse to die despite receiving multiple fatal wounds. In between later murders, the killer freely roams city streets undisguised (except for sunglasses) when wanted posters are literally plastered everywhere! (A death wish; a plea for help; or just a dumb screen script?) Actors and actresses lack on-screen chemistry. Rather than forming an ensemble, each seems to be waiting to deliver lines instead of listening and reacting to the dialog of others. The lead actor does not seem to be in his element when playing a murderer, but, instead, when playing a chameleon-like swindler who can change modes of deception on the fly! Nude scenes and gratuitous simulated sex are inserted here and there to spice things up (and boost juvenile audience appeal). Cinematography (semi wide screen, color) is good except for the closing scenes (see below). Restoration is very good. Subtitles for opening credits are near-white letters on top of white Japanese characters making them challenging/impossible to read. Dialog subtitles are sometimes too long given their screen flash rates. Yup, the English title (widely used) for this movie does not fit, but it is catchy. The ending is just plain weird (and seems to be tacked on as well as poorly executed and photographed). But, then again, there could be a message hidden in there--somewhere! Not recommended (unless you first park your brain beside your disc player). WILLIAM FLANIGAN, PhD.

"I'll never forgive you." "Who the Hell asked you to?" This has been dubbed the "greatest serial killer movie ever made". It's the true story of Iwaao Enokizu from as devout Catholic family who, while posing as a charming university lecturer, went on a 78-day slaughter spree in the 1960s before he was captured, unrepentant to the end. The murders are rendered with protracted verite - comparable to Kieslowski's Short Film About Killing - though are often so slapdash they can seem like the work of a deeply depressed Benny Hill sketch writer. And Vengeance... would be nothing more than a spreadsheet of bestial brutality were it not for Imamura's intelligent approach to its subject (think of this as a Japanese take on Camus' The Outsider) and willful cussedness, exposing a side of society the 'new Japan' would prefer to whitewash over.

this film is half delicious--half not.the first half is a seemingly clumsy attempt to narrate the initial crimes of the featured psychopath. the narrative moves quickly through his initial murders using a workmanlike exposition, it shows this man's growing proficiency in the art of quick killing. and that is the first part of the film.the director manufactured a clinical approach to the first half, as shown by his use of clinical titles--suggesting a police report--summing up the effects of the psychopath's murders with little or no lead to the killings.this is the clumsy part of this film, unfortunately the director did not have the luxury of cloning future Hollywood examples to give him a better formula for this type of narration.but the second half of the film is where the director shows the relationship that intrigues him.the second part is enigmatic. it posits the ultimate relations when average persons attempt an average relationship with a homicidal psychopath. and this part is enthralling. the tension is beyond.

Nasty, but fascinating account based on the true story of a deeply disturbed serial killer in early 1960's Japan. But this is very different from most movies of the genre in that it gives no neat psychological explanations of why he kills, or indeed gives any particular moral overview. It has a complex structure starting at his capture and working back and forth from there to his childhood and his murders. Its not an easy film to watch in many ways, but via an excellent central performance it manages to convey the complexity of the killer and the people he meets, including the women who (sometimes) love him, without ever taking an easy narrative or moral option. Perhaps the nearest equivalent movie I can think of is the more recent Korean 'Memories of Murder' which likewise breaks the 'rules' set by western serial killer movies, and as such are far more informative and interesting.