The Eel (film)

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Unagi
Shohei Imamura
Written byShohei Imamura, Daisuke Tengan, Motofumi Tomikawa, Akira Yoshimura
Produced byHiso Ino
Starring
Cinematography
Shin’ichirō Ikebe
Distributed byShochiku (Japan)
Mongrel Media (North America)
New Yorker Films (Eng-Subs)
Release dates
12 May 1997 (premiere at Cannes)
24 May 1997 (Japan)
21 August 1998 (U.S.)
20 November 1998 (UK)
Running time
117 minutes
CountryJapan
LanguageJapanese
Box office$5,151,326[1]

The Eel (うなぎ, Unagi) is a 1997 film directed by

Kōji Yakusho, Misa Shimizu, Mitsuko Baisho, and Akira Emoto. The film is loosely based on the novel On Parole by celebrated author Akira Yoshimura, combined with elements from the director's 1966 film The Pornographers. It shared the Palme d'Or at the 1997 Cannes Film Festival with Taste of Cherry.[2] It also won the 1998 Kinema Junpo Award for Best Film of the Year
.

Plot

In

bankbook. This results in Dojima angrily going to the barber shop, along with henchman, and accusing her of theft since he was planning to reinvest the funds into his business. Dojima's group and Keiko's fight, with the false revelation that Keiko is pregnant with Takuro's child. The police find that Keiko's mother never signed power of attorney papers for Dojima, but a parole
violation meeting for Takuro causes him to be sent back to prison for a year. Takuro lets his eel go and accepts a boxed lunch from Keiko, who promises to wait for him with her baby.

Cast

Reception

Lawrence Van Gelder of The New York Times said that the film "swims with grace, insight and vast compassion", complimenting the "vivid" cast that allowed the director "not only to bare the passions that seethe beneath the orderly surface and apparent conformity of Japanese life but also to ponder emotions and issues that know no nationality."[3] David Stratton of Variety described the film as "filled with colorful characters, and fluctuating alarmingly—but with surprising success—among several levels on the emotional spectrum", saying that the director "has created a rich tapestry of characters and situations, all of it vividly brought to life with pristine visuals and a generous emotional warmth."[4] Describing its cinematography, Noah Cowan of Filmmaker said that the film "is shot in sunny, saturated colors, lending it the air of a filmmaker content with his achievements in the sunset of his career."[5]

Film critic Tadao Sato stated that in light of a lack of attention regarding Japanese films in Japan itself at the time, the Japanese public had a lack of awareness about the film, and in regards to positive foreign reception of The Eel, "It was gratifying, then, that 'Unagi' should receive international recognition at a time when Japanese themselves were ignoring such films."[6]

References

  1. ^ "The Eel". JPBoxoffice. Retrieved March 04, 2012.
  2. ^ "Unagi - Festival de Cannes". Cannes Film Festival (in French). Archived from the original on October 16, 2023. Retrieved October 16, 2023.
  3. ^ Van Gelder, Lawrence. "The Eel (1997)". The New York Times. Retrieved 27 September 2015.
  4. ^ Stratton, David (19 May 1997). "Review: 'The Eel'". Variety. Retrieved 27 September 2015.
  5. ^ Cowan, Noah. "Festival Roundup". Filmmaker (Summer 1997).
  6. ^ Nishimura, Kunio (October 1997). "THE REDISCOVERED WORLD OF JAPANESE CINEMA". Look Japan. Archived from the original on 2002-06-12. Retrieved 2019-05-01.

External links