Jigoku

First I need to confess that I find the 1960 original only fair. I like the bright color cinematography, but find the story rather silly.

The 1979 version of Jigoku features a better story at its center. An adulterous couple (a man and his pregnant sister-in-law) are fleeing the woman's husband (who is also the man's brother). They hide out, but are caught and the man murdered by his brother. The killer also mortally wounds his former wife and leaves her to die. However, the woman gives birth to a daughter before dying. This daughter, Aki, is fated to avenge her mother and end in hell. Twenty years later, Aki returns to her rural birthplace and begins to seduce her two half-brothers (they share the same father) leading to tragedy. In the last twenty or so minutes, the film switches to the underworld (hell) as we see the punishments the characters receive. I think life (and afterlife) is rather unfair to Aki since she is given no moral choice but is forced by fate to avenge her parents. Maybe that is just a westerner's opinion.

This version of Jigoku suffers from being way overlong, a half hour longer than the original 1960 film. Also, there are some noticeably ineffective uses of rear projection (the rescue on the train is one glaring example). As for the afterlife scenes, they are not as colorful as the original 1960 film nor do they improve in the FX department. However, the resolution is more satisfying than the ending of the original film.

Fans of the 1960 film might want to see this 1979 version for comparison sake. Also, lead actress Mieko Harada, in a dual role as both Aki and her mother, is quite good (Harada later had a good role in Kuroasawa's Ran). This version of Jigoku is not a bad film, but it is way overlong.

Adulterous Miho (Mieko Harada), pregnant by her lover Ryuzo (Ken Nishida), is killed by her husband Unpei (Kunie Tanaka), but gives birth to daughter Aki shortly after dying. Aki, unwanted by her family, is sent to an orphanage and replaced by another child, Kumi.

Twenty years later, Aki (also played by Harada) returns to the village where she was born and unwittingly acts as an instrument of vengeance for her mother, who is suffering in Hell for her sins.

I wasn't a big fan of the 1960 film Jigoku, which I felt was overlong and extremely tedious, the only good thing about it being its gory depictions of punishments in Hell during the final act. This 1979 loose retelling from Toei is even longer (by about half an hour) and its vision of hell less impressive, making the film even more of an endurance test. The only real positive about the film is Mieko Harada, who is extremely attractive and takes her clothes off a fair bit: it's not hard to see how she could lure most men to their death.

3.5/10, rounded up to 4 for the people-grinding machine, Miho impaling her hands and feet on spikes, and the funny flesh-eating bugs.

Jigoku is loosely inspired by the 1960 classic Jigoku by Nobuo Nakagawa. The film's depiction of hell is undoubtedly its strongest aspect, showcasing imaginative and well-executed visuals that are both haunting and mesmerizing. However, the overall pacing and narrative structure leave something to be desired.

Strengths: Unforgettable Visuals of Hell The film's portrayal of hell is truly a sight to behold. Kumashiro's vision is a nightmarish realm filled with grotesque imagery, surreal landscapes, and unspeakable tortures. From twisted and contorted souls trapped in eternal agony to bizarre and unsettling creatures that inhabit this infernal domain, the visuals are both captivating and disturbing.

The practical effects and set designs are impressive, especially considering the film's age and relatively low budget. The attention to detail in creating this hellish world is commendable, and viewers can easily get lost in the sheer creativity and imagination on display.

Weaknesses: Sluggish Pacing and Disjointed Narrative Unfortunately, the film's strengths in the visual department are somewhat undermined by its sluggish pacing and disjointed narrative. The first half of the film, which focuses on the earthly lives of the characters, feels unnecessarily drawn out and lacking in momentum.

The transitions between different storylines and characters can be jarring, making it difficult to fully invest in any particular narrative thread. Additionally, the film's overall message and themes can be muddled at times, leaving the viewer to piece together the underlying commentary on sin, guilt, and redemption.