One surefire way for a film to grab my attention and keep me invested is to layer on heavy atmosphere. We see this predominantly in horror, and John Carpenter is a foremost example, but it's just as possible and admirable in any genre. To my great pleasure, 'Inn of evil' is positively dripping with it. A fierce current of dark, seedy tension cuts through this picture nearly right from the start, and as we've seen elsewhere and otherwise in the oeuvre of Kobayashi Masaki, the success isn't so much about steady infusion as judicious, patient application. The score of composer extraordinaire Takemitsu Toru definitely carries some of that weight with its carefully laid-in thundering percussion and somewhat discordant high strings and woodwinds, and I would expect no less from the man. Screenwriter Miyazaki Kyoko provides some foundation with his characters, scene writing, and dialogue, certainly, and Kobayashi's direction is as deliciously deliberate and painstaking as it ever has been at his best, to say nothing of some keen use of lighting. Yet in this instance I rather think it's the acting that arguably does so much to foster that atmosphere, not least star Nakadai Tatsuya. He's taken on no few other roles that were relatively straight, or even lighthearted, but he's also very capable of summoning a ferocious spirit and gravity - recognized even in just his facial expressions, or his eyes alone - that's almost frightening. At some points in Kobayashi's 'The human condition' Nakadai brought to mind Mifune Toshiro, and if that's not a high compliment then I don't know what is; here, too, there's an intensity to his acting that's particularly electrifying, and between that building charge and the contributions of all others, even within the first twenty minutes or so 'Inn of evil' feels like it's ready to explode.
By this alone the feature had me spellbound pretty much from the get-go, and I think it's safe to say that this easily counts among Kobayashi's more worthy works. In every capacity it's shaped with utmost skill, intelligence, care, and a mind for detail, and from top to bottom it's a real pleasure as a cinephile. From the use of light and shadow, to shrewd angles, framing, and blocking, the title further boasts a marvelous sense of artistry that's especially reflected in Kobayashi's direction, and in the crisp, vivid, smart cinematography of Okazaki Kozo. This is to say nothing of the pristine audio that allows every note, word, and sound to ring out; terrific filming locations, or sharp production design, art direction, costume design, and hair and makeup. Where stunts, choreography, and practical effects are employed they're impactful and exciting, even as they come up relatively infrequently, just as with the filmmaker's other jidaigeki like 'Harakiri' and 'Samurai rebellion.' And while Nakadai unmistakably stands out as cold, violent Sadahichi, his fellow cast members all have an opportunity to stand out at one time or another, and some more than others: Katsu Shintaro as the drunken but sage unnamed visitor; Yamamoto Kei as beleaguered yet passionate Tomijio; Kurihara Komaki as kindhearted, innocent Omitsu; and so on. In every regard the movie is splendidly well made, meeting all the high standards we anticipate of both the genre at large and contemporary fare.
Meanwhile, I claim no familiarity with Yamamoto Shugoro's novel, but Miyazaki's adapted screenplay is a minor treasure unto itself. As the tale predominantly takes place within a single location it quite comes across as something that could be adapted for the stage, and this notion is reinforced by the nature of the storytelling. It's a tad less focused than I anticipated, not by way of being deficient, but in the sense that the substance herein is a little less about a tight, discrete course of events and a little more of a broader character drama, a tableau in which we see that there is much more to these figures than first meets the eye. The characters are written with welcome complexity that shows more and more as time goes by, and if anything I actually wish 'Inn of evil' were longer so its characters could have received even more attention. With this well in mind the dialogue is gratifyingly thoughtful, and the scene writing unexpectedly varied and dynamic even as the overall tone is kind of harsh and dreary. And divested as it sort of is among its characters, the story is firmly compelling as we explore the complicated people that call the Easy Tavern home, and the sorry paths their lives took that led them to this station - condemned by society for the road they walk, a road that was forced in the first place by the circumstances of that unjust, unequal, uncaring society. For all their criminality there is yet a spark of virtue in these smugglers, a stark contrast to the monolith of the outward order and structure of the culture around them, and the conflicts that result are low-key fascinating.
Just as with Kobayashi's other films of a similarly strident, grandiose nature, all this culminates in an ugly, thrilling, bloody, captivating climax that pointedly reinforces all the ideas and themes on hand while allowing the supreme craftsmanship of all contributors to shine gloriously. It's altogether stunning, frankly, an exquisite finish and a capstone to a picture that's much more sophisticated than it may appear from the outside looking in. Though it's not as well known as Kobayashi's most esteemed productions, I'd have no qualms placing it side by side with them as one of his best, for it bears all the same qualities, and if anything in only a slightly different configuration - dark and brooding as that character drama is proliferate in a jidaigeki crime flick. With stellar writing, direction, and acting, alongside all the tremendous work of those behind the scenes, this is a feature that's both intellectually stimulating and easy on the eyes, invigorating and very measured in its pacing, and at length all the pieces come together perfectly for a viewing experience that's downright entrancing. I have high expectations of Kobayashi, and he has stunned once again; as far as I'm concerned this is a riveting tour de force, a masterpiece that rather demands viewership. It won't appeal to all comers, and it's not a movie for those seeking instant gratification, yet for anyone receptive to those works that unfold in their own time, the profit is a brilliant, highly satisfying, deeply rewarding title that deserves far more recognition. I adore 'Inn of evil,' and I'm pleased to give it my very high, hearty, and enthusiastic recommendation!
