Subete ga kurutteru

This post-war Japanese film essentially revolves around a young man by the name of "Jiro Sugita" (Tamio Kawaji) who lives alone with his mother and hangs out with his friends who have formed a street gang of sorts. Within this gang is a girl named "Toshimi Tani" (Yoshiko Nezu) who is quite smitten with Jiro and believes that the reason he doesn't return her affection is due to his overall shyness-and this only increases her resolve to be with him even more. What she doesn't know is that Jiro is insanely troubled by the fact that his mother has been having an affair for ten years with a married man named "Keigo Nanbara" (Shinsuke Ashida) who also loves her but cannot bring himself to file for a divorce from his wife. As a result Jiro harbors an extreme disdain for all women and treats them accordingly. So when Toshimi finally breaks the ice with him and they end up sleeping together she isn't quite prepared for what happens afterward. Now rather than reveal any more I will just say that this coming-of-age film had more than its fair share of personal dramas involving a number of other characters than those just mentioned. It also consisted of some overly-dramatic acting that is uniquely typical for many Japanese films of this type as well. That being said, while it may not appeal to all audiences, it wasn't too bad for the most part and I have rated it accordingly. Slightly above average.

The united states title for this is everything goes wrong, while in japanese, it translates to everything is crazy. Jiro is a confused, angry, youth, trying to grow up in the crazy world around him. This was 1960, so japan was starting to get back on its feet after world war two. When he discovers that his mother is hanging around with a married man, he must deal with his own feelings, in spite of the fact that the married man has helped them financially over the years. So Jiro does what a youth in a city does... he joins a gang and goes down the wrong path. Starts pulling jobs and making bad decisions. It's pretty good, with lots of peppy, jazzy music. The tone always seems to be upbeat and fast, even when Jiro is breaking into cars. The director must really like jazz. Story by Akira Ichijo. Directed by Seijun Suzuki. Wikipedia dot com says he went to film school after the war, and about ten years later, began directing films. This is pretty good... has almost the same plot as Blackboard Jungle, which had come out five years prior.

Also known as The Madness of Youth - if you want to find this one on the internet, that's the title I found it under. And you'll want to find this one. It's one of Suzuki's best. It shares many similarities with Koreyoshi Kurahara's The Warped Ones, which I watched (and reviewed) a while back, and it even stars the same actor, Tamio Kawaji, again playing a disaffected youth (Everything Goes Wrong came out less than a month afterward). In The Warped Ones, Kawaji was a total ass, completely despicable. He's kind of despicable here, but the story does more to redeem him - to show that he's just a confused child rebelling against his elders.

After his father died in the war, his mother shacked up with a rich, married man. Fifteen years later, he's still hanging around, and Kawaji thinks of his mother as a prostitute. He kind of thinks of all women that way. It doesn't help that the women he hangs around with are extremely promiscuous (while this comes before the era of the true pinky films, the descriptions of sex are surprisingly graphic). The film is very moralistic, but the characters are well written, and the script flows quickly between several different plot lines (it runs a mere 71 minutes but feels absolutely stuffed - though not overstuffed). The real star, of course, is Seijun Suzuki. It's often said that Suzuki was nothing but a factory worker for Nikkatsu at the time. That may be, but a Hell of a worker he was, and his camera darts around breathlessly and beautifully. You know that famous between the legs shot in Kurosawa's Yojimbo? Suzuki beat him to it by a year (he probably wasn't the first either, but I know I always associate that shot with Yojimbo). The editing is also tremendous, although, supposedly, Suzuki would have nothing to do with that. After all, this was just one of four films the director would make in 1960.

What a great, flowing, virtuoso bit of filmmaking. Effortless interlocking scenes moving one to the next. One character's bit of drama bleeds seamlessly into another. This interlocking style is not originated in this film but many of the more recent films have popularized something that this film did so well 50 years before. There is an apparent joyous enthusiasm with which this film is made and, while the subject matter is at times very intense and not always satisfying, there is an infectious energy on display by a doubtlessly talented director.

Crash, Pulp Fiction and other similar recent films owe a bit of a debt to Everything Goes Wrong and fans of those should take particular interest in this one.

I went into it with no expectations as I knew nearly zero about it and at the time I am posting this review only 16 people have even voted for it. A criminally under-appreciated film and it made an immediate impression on me which has continued to grow to admiration. After seeing Tokyo Drifter, Branded to Kill, Take Aim at the Police Van, Everything Goes Wrong is my favorite film by Seijun Suzuki so far.

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Tamio Kawaji doesn't like that his mother has been a married businessman's mistress for fifteen years. He lives on the money, but it makes him miserable. He earns some money stealing cars, and his girlfriend, Yoshiko Nezu, sides with him. She tries to raise money for a friend who's gotten pregnant, only she doesn't want to bother the boy she is living with about an abortion. As the situation spirals out of control, the older couple tries to talk with the youngster, to explain things to him, but he doesn't want to hear about it.

Seijun Suzuki's movie about juvenile delinquency and the causes of it is sensationalistic, and offers no real solutions, only a beginning of one. Mostly, though, it's about violence and anger and alienation.