Grim, surreal, and nightmarish are the three words that would accurately sum up the groundbreaking Japanese horror film,Jigoku. Directed by Nakagawa Nobuo, who was well known for popularizingfolk-tale-styled horror films,Jigokuhas gained a cult following over the years. The Japanese word, ‘Jigoku’ literally translates to hell, but the film is also titledThe Sinners of Hell. From the very first scene, the movie wastes no time in letting the audience know that horror awaits the characters and the watchers.
In short, the film depicts theactual Buddhist Helland what happens to sinners when they die. The film was the last production by the Japanese production house, Shintoho, before it declared bankruptcy in 1961. Despite the tight budget and the looming bankruptcy,Jigokuis a horror masterpiece. Let’s look at one of thebest horror filmsto date.
Jigokuwas released in 1960, a time when visual depictions of violence and gore were kept to the minimum. None of the earlier Shintoho films even came close to depicting blood and gore the way it was shown inJigoku.Given that not only was Shintoho going bankrupt and the fact that it was really unheard of to portray so much torture, gore, and blood on screen at the time, Nakagawa really did a brilliant job with the film.
Jigokuplays directly into the Japanese psyche of the time, giving the audience a slow, suspenseful plot where they know something horrible waits beyond but don’t know for sure until it’s too late. It is also one of the first Japanese films to incorporate Western plot devices, in terms of the way the horror of Buddhist Hell was depicted, making it ahead of its time. Not to mention thatJigokupractically found the ero-guro genre that has found quite some popularity among certain groups.
There’s no denying that the pacing ofJigokuis slow, but thebuild-up is definitely worth it. The initial half (and a little more) of the film focuses on setting up and introducing the large cast of characters.Jigokufollows Shiro, a man who condemns himself to Hell after a hit-and-run. Shiro and his friend, Tamura run over a man after the two take a shortcut home, on Shiro’s suggestion, on the way back from Shiro’s fiance’s home.
The two don’t check up on the victim and are eventually hunted down by the victim’s girlfriend and mother. Luck definitely is not on their side as things get worse and worse as the story progresses. Eventually, Shiro and the majority of the characters the movie has introduced end up in the eternal bowels of Hell. The initial portion is definitely a painfully slow burn, but the moment that Shiro sets foot in Hell, the horror commences. From vivid, gruesome images of sinners being sawed into pieces to people being boiled in blood and pus.Jigokudoes not hold back in showing the torment of the sinners in Hell.
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Artistic Cinematography
For a film release in the 1960s,Jigokuis a piece of art. It wouldn’t be an exaggeration to say that any still from the hellscape in the film could serve as a reminder of the works of Bosch. In addition, the film incorporates avariety of camera tricksto add to the sense of disorientation and dread. From deep shots to skin-crawling close-ups to reversed upside-down scrolls, the film ensures the audience gets their fill of visual stimulation. The green and grey tones of the film create a striking contrast with the bloody reds. The use of lighting also is really effective in creating a sense of underlying mystery and strangeness. There’s almost something theatrical and artistic about the Hell sets in the film that makes them quite fascinating to look at even in this day and age.
A Soundtrack That Matches the Atmosphere
Many would agree to the fact that horror films owe a lot to theirsoundtracks in order to build the atmosphere, andJigokuis no exception. The soundtrack for the film is absolutely brilliant. It does well to work with the visuals to help build the eerie atmosphere of Hell. Interestingly,Jigokuactually has quite a diverse soundtrack. From classic jazz and blues to tribal drumming and folklore songs, the film has it all. The music is perfectly in sync with the visuals, ensuring the audience is completely immersed in what’s unfolding on the screen.
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Ethical and Moral Aspects
While the latter half of the film is pretty clear that there’s a morality play unfolding, the initial portion of the film does well to convey this message to the audience. The film really digs into Shiro’s psyche through constant playbacks of the accident. In addition, the contrast between Shiro’s mother’s declining health and his impending wedding, which brings with it the promises of happiness, is a reminder to Shiro of the sin that he has committed. It’s interesting to note that Tamura acts like the complete opposite of Shiro, who is being eaten alive by his guilt. Tamura is remorseless and has an uncaring disposition, and seems almost like a madman. Of course, Tamura is sentenced to endless torment for giving in to his evil side.
In addition, the vague ending of the movie definitely leaves room for interpretation. Some watchers argue that in the final moments when the King of Hell gives Shiro one last chance to save the soul of his baby, some think that he succeeds. While others believe that given that Shiro is in hell, he is only fed false hope. Nakagawa does well with his portrayal of a society that has lost its moral balance (remember, the movie was released post-war).
Given thatJigokuwas released in 1960, and had a limited budget, the acting is a little over the top. However, somehow it works well with the storyline and the visuals of the movie. Each actor gives as much as they can to ensure the audience gets the essence of their characters. For example, Shigeru Amachi, who portrays Shiro, does a spectacular job at portraying the guilt and, eventually, the desperation he feels for the crime that he has committed.
There’s no doubt that Yoichi Numata takes the cake with his brilliant portrayal of Tamura. There’s something unsettling about Tamura’s character that bugs one throughout the movie. He’s remorseless and a little insane, and one can never truly understand what it is about him that causes the unsettling feeling. Interestingly, even Numata never knew why exactly Tamura was so insane and creepy. The actor revealed that he had initially acted that way to get Nakagawa to correct him, but the director never did. Famous actor Kanjuro Arashi also makes a cameo inJigokuas Lord Enma, King of Hell.
