Nouvelle vague in salsa giapponese. Protagonisti in stato di grazia, politica neanche troppo sottilmente celata, bassifondi e piccoli criminali à la Bukowski e (spoiler alert) la scena dello stupro che vale da sola il film. Per me uno dei migliori esempi di film anni Sessanta, con tanta vita ma anche una buona sceneggiatura. Da vedere
satira antiamericana sul periodo dell'occupazione culturale e militare da parte di questi nel Giappone del dopoguerra. Regia solida di Imamura, che riesce a reggere con mano sicura anche concitate scene corali, anche se il film impiega almeno la metà del tempo prima di decollare. L'ultima parte è nettamente la più riuscita, dove ritmo e ironia finalmente vanno a briglia sciolta ***1/2
Inflammatory, anti-American; somehow grotesque and humanistic in equal measure. Imamura's mastery of style is evident precisely within this confusion of the terrible and the hilarious. After all, it IS kinda funny Kinta has a confederate flag on his baseball cap. But the more you think about it, the worse it gets.
A cynical and scathing satire of post-war Japan, Pigs and Battleships is shot in bursting CinemaScope and boasts compositions that throw in everything but the kitchen sink. Imamura's hatred for Ozu reached a peak here as Pigs and Battleships is the exact opposite of an Ozu films. It's rude, filthy and horrifyingly angry, but it's also hilarious. Gotta love the finale.
Trucks crammed with black-market pigs, battleships filled with American soldiers -- they form parallel fleets, economic and military, enlisted in the same campaign: finishing off the transformation of Japan begun by the end of Edo. The only innocents here are the pigs -- civilians suffer but also connive -- recruited as brute trade's raw materials and as proxies for Japanese turning upon and consuming themselves.
At times violent, at other darkly funny, this is an outstanding look into the Japanese underworld during the American occupation. You can definitely see an influence on future filmmakers like Scorsese. Those opening shots, and the closing sequences, are wonderful. The Criterion set truly does Imamura, and this film, justice.
it is sort of a definitive masterpiece. imamura is immensely gifted in the manner in which he manages to parody the japanese nation under the americans as well as as presenting an insight into the lowest and most realistic of japanese classes. the visuals are beautiful, the script is snappy, funny and in the end philosophical. i just love how real everything becomes in an imamura film. there is only one.
The two protagonists are a young gangster eager to move up in rank and his straight girlfriend who's forced by her family to prostitute herself to US soldiers for money. It sounds bleak as hell but Imamura never indulges in melodrama, favoring a realistic approach that shows people can enter survival mode and become resilient to circumstances.