Subtle, and brilliant, with an incredibly wry, dry, satirical sense of humor - I really didn't know what to expect when I sat to watch this, but I am positively over the moon. In every regard this film is remarkably shrewd, twisting ordinary notions into something a little off-kilter, and despite its simple outward appearance there's so much to take in that one may well need to pause just to collect their thoughts. Shindo Kaneto's script is exceptional, centering events entirely around conversations and interactions in and around a single apartment so that the proceedings could just as well be adapted to the stage. The Maeda family puts on airs and takes advantage of everyone around them in every way and to every degree that they can, pushing buttons as far as they dare, and even somewhat working against each other even as they work in concert. The activities of other figures only add to the delicious miasma, and every character is written with marvelous, cunning intelligence and an undeniably fierce spirit. That's to say nothing of the sharp, cutting dialogue that flies between all who come and go across each scene, low-key dazzling and flavorful as each is. Strictly speaking the plot bears a certain flatness as it relies so heavily on these characters and their dialogue to develop, and it would require astonishing acumen to shape that approach into an engaging, enjoyable satisfying viewing experience - but, by Jove, Shindo alone does just that. As events do culminate to a particular end in the last stretch, the result is utterly exquisite. "Jaw-dropping" is often used as hyperbole, but with 'Elegant beast,' also known as 'The graceful brute,' it's quite literal, and reflective of only the utmost praise.
There's the vibrant performances of the cast, buzzing with high energy that's just waiting to explode as scenes and interactions provide its one outlet, and even with that focus the actors give portrayals that are larger than life. In all earnestness I would love to see what a playwright might make of this in a live setting, for Ito Yunosuke, Hamada Yuko, Kawabata Manamitsu, Wakao Ayako, Takamatsu Hideo, Sazanka Kyu, and even Yamaoka Hisano shine with the strident vitality and simmering craftiness they infuse into their roles. True, this credit extends just as well to filmmaker Kawashima Yuzo with his bright direction, guiding the picture toward that bristling undercurrent of ferocity. But each player in and of themselves is so electric in their acting that, like Shindo's screenplay, they pretty much make this a stunning feature all by themselves. To my amazement, as much as devious thoughts and harsh words fly between all the characters who fill the preponderance of the runtime, and for as superb as all the rest of the cast is, the brief appearance of Funakoshi Eiji as Kamiya is more striking yet: when at last we viewers are presented with a character who is genuine and earnest we can immediately discern it, and Kamiya's part in the tableau echoes like a thunderclap for the achingly dark portent it suddenly lends to the whole affair. With only a couple minutes on-screen Funakoshi delivers a performance of emotional depth that shatters the status quo we had been spectating, bringing all to bear even more - right before the last minutes continue with business as usual.
Beyond minding his cast Kawashima has his hands full with other resplendent ingenuity in his capacity as director, for working in concert with cinematographer Munekawa Nobuo and his crew, the fundamental presentation is stupendously keen and absorbing as even framing and blocking are impeccably, smartly calculated. Just as the movie at large carries cheeky sensibilities about it, Kawashima and Munekawa are rather playful in how most every moment is shot, and it's all very purposeful and meaningful. Discrete high angles, low angles, and wide shots may show what every character in a scene is doing; characters in the background will be the focus while someone is in the foreground, or maybe they're talking at the foreground figure; people and set pieces serve as obstacles in the foreground to split our perspective of a scene as it transpires, often connoting discrete divisions and trajectories. Very particular use of lighting, carefully constructed set pieces and shots, voiceovers, and movements of actors add a certain unexpected artistic fancifulness while bolstering the underhanded wit coursing throughout these ninety-five minutes, and there's scarcely one footfall without a sly intent behind it. Where a very mundane, unsophisticated shot is employed, the use almost feels like a small joke in and of itself given how meticulously the title was otherwise constructed.
Raised voices aside, those scant few moments of extra vigor or extra softness throughout the length are piercing for how they complement and bolster everything else herein. Much the same can be said of Ikeno Sei's music, for though it rears its head very sparingly, where it does the use is excellent in what it lends to the storytelling - including the last moments, a stark coda. And really, what a way to end this title that so pointedly critiques modern living: the dog-eat-dog, "every man for himself" selfishness and treachery encouraged by capitalism and the profound inequalities in society, and the shiftiness that allows the amoral or cruel to get ahead while those of any scruples suffer. A little more than fifteen years after World War II, and a hair under ten years since the Allied occupation ended, Shindo and Kawashima set their sights on Japan specifically, but the notions herein are easily, despairingly applied to any locale around the world where one might live. Rounded out with fine contributions from all others behind the scenes, at large the film boasts so many strengths that it stands out head, shoulders, knees, and toes above most others I could name. In all honesty, this is one of the most brilliant features I've ever seen; even for the places the story goes, and the overall tone, "phenomenal" seems too tiny a word to describe it. Given the way this is put together it won't necessarily appeal to all comers, but I cannot overstate how terrific it is, and downright spellbinding. Even having just finished I'm ready to watch it again, and I'm so very pleased to give 'Elegant beast' my very high and enthusiastic recommendation!
