Otoshiana

As the ghosts of two of the victims of the man in the white suit chase his Vespa, they yell, "You can't kill someone for no reason." Whatever that reason is, it is never shared with us. It's sad enough that the characters in this movie are so lost, but that someone would care enough about them to seek them out and kill them. The man in the white suit has a book and after carrying out his hit, or setting one up, he quietly writes things in that book. Is he the grim reaper? Does he represent organized crime? Is he a solo player? He is magical in a Satanic sense. He comes between two warring labor unions, creating enough distrust to destroy what they fight for and them also. One of the strangest characters is a little boy, the son of the first victim, who seems only intent on eating throughout the movie. At one point, he catches a frog, smashes it on the rocks, and then pulls off its skin. He seems immune to emotion and we only know that he is a little eating machine. This is a film that you will think about for a long time if you can find it. It is unsatisfying on the one hand and highly provocative on the other.

Pitfall is slightly reminiscent of a wacky Hollywood comedy with the wackiness the hollywoodness and the comedyness removed. There is a murder, there is a ghost who wants to know why they were murdered, and there are a variety of people running around trying to figure out what's going on.

But unlike some 40s ghost movie, ghosts are powerless to do any more than watch and complain among themselves. And so the movie becomes more the eternal question why must we die then the typical question of who done it.

With its quirky score and offbeat premise the film is often engaging, but some of the plot points are actually pretty ridiculous and it feels like this might have made more sense as a dark comedy rather than an existentialist drama. The movie definitely needed a better ending.

While imperfect, all in all it's pretty absorbing.

From the start of the movie you follow two deserters that are mine workers. A guy dressed in white is spying on them unnoticed from a distance. Then The miners move on to new jobs but the man in white follows still unnoticed....

This movie is much more about moods I think than the actual story. It is a slow moving movie especially the first half of it. But I was absorbed about wondering who was it following him and why. I did also like the boy as the silent observer where I wondered if he would interfere with the story at a time and in what way.

I would not recommend this movie to everybody. I did enjoy it a lot but I would not consider it as a masterpiece. If you are are interested in slow but moody B&W pictures then it may be for you. If you want a bit more action then choose another movie.

An artistic film that defies simple analysis. There are ghosts, but it's not a ghost story. There is a crime scene investigation, but it's not a murder mystery. It's got surreal moments, but it's not strictly a fantasy.

At the heart of this allegory is a very down to earth social criticism of Japan's mining industry. The film shows us the backbreaking work of miners in the Kyushu region, one that has been desolated by industry. Pay is meager and workers are sometimes hunted down for desertion. There are unions but they are weak, and industrialists use one of the many ploys at their disposal to keep them that way - they pit the leaders of different groups against one another. The mysterious man in the white suit to me is simply a symbol for big business. Without a trace of compassion, it leaves entire communities as ghost towns, raping the land, and leaving its workers eternally hungry.

The visuals in the film are stark and brilliant. Teshigahara boldly puts images and sequences on the screen that make us wonder what's happening, and where he's going with this. The film may seem disjointed and odd, but bear with it, or watch it a couple of times (as I did).

It's certainly not cheery though. There is so little hope against unseen forces that leave people in squalor, and have men fighting one another in the mud of life. A shop owner is raped by a cop and it's witnessed by a boy. It's very unfortunate that this seems to evolve into acceptance or consent on her part after a jump cut (the painful to watch trope that 'no' eventually means 'yes' with enough force or persistence). It's a small moment, but this woman sells candy bearing Disney characters, a clear (and sad for Japan) post-war reference. And what of the future? A little boy in a barren landscape who has seen several murders, a rape, and impassively rips apart a live frog? It's bleak.

If you're familiar with Hiroshi Teshigahara's work, especially the notorious "Woman In The Dunes", you will understand the starkness, the harsh reality, the irony of this film. Ostensibly about a miner who is stalked by a man in a white suit and who then is killed for reasons that do not become apparent until nearly the end of the film, the film is, like "Dunes", an uncompromising look at life. The film is technically superb on the DVD box available, and it is highly recommended. This film is not for everyone, it is for people who are interested in serious Japanese cinema. There are nuances in this film that show the mark of a great director, though. Again, be prepared: This is not happy go lucky. It triumphs mostly because of its persistence of vision. That is an endorsement for any filmmaker.