The Eel

Imamura, like many older directors, has evolved a style of wonderful simplicity, lucidity and economy, cutting to the marrow of events, switching moods with effortless ease. [11 Sep 1998, p.F]

Yakusho and Ms. Shimizu deliver unerring performances in a splendid film that harvests hope from a bleak landscape.

In a way, The Eel is very much like Black Rain, and nearly as great. Both deal with an emotionally shattering aftermath, and both question mankind's ability to overcome its many weaknesses.

While the symbolism of the eel itself is a bit obvious, Imamura has created a rich tapestry of characters and situations, all of it vividly brought to life with pristine visuals and a generous emotional warmth.

Writer-director Imamura's film seems as deceptively simple as the eel, and yet generates deep emotional ripples. [21 Aug 1998, p.064]

Pointless conflict aside, The Eel is a thoughtful film, oddly touching despite its quirks.

The performances (especially the lead one by Shall We Dance's Koji Yakusho) are all quite good, but I was once again stuck watching a movie that's solely about repressed passion, perhaps the least cinematic thing you could ever try to film.