Based on a novel by the current Governor of Tokyo, Shintaro Ishihara, and starring the governor’s younger brother, Yujiro Ishihara, “Crazed Fruit” can easily rival any Oscar-winning film had Nikkatsu Corporation produced the former in the English language.
The year is 1956. The Allied Occupation of Japan has just ended, but American influence is still rife in Japanese society.
With money to burn and time to kill, a group of privileged and rebellious Japanese in their late teens and early twenties adopt a lifestyle of wine, women and song by the beach. Their unofficial leader is Frank Hirosawa (Masumi Okada), a melancholy youth whose wealthy Japanese father had divorced Frank’s American mother to marry a Japanese barmaid.
Among the other members of the group are Natsuhisa (Yujiro Ishihara) and his younger brother, Haruji (Masahiko Tsugawa), who become some of Frank’s closest friends. The relationship between Natsuhisa and Haruji is fine until a strikingly beautiful girl, Eri (Mie Kitahara), enters their lives.
20-year-old Eri is secretly married to an American three times her age. With her husband constantly away from Japan, Eri takes on many lovers among her Japanese acquaintances.
The virginal Haruji quickly wins Eri’s heart, but his more seasoned elder brother blackmails Eri into having an affair with him at the same time.
Life becomes more complicated when Natsuhisa falls in love with Eri and Frank is forced to intervene in an attempt to end the bitter rivalry over Eri between the two brothers.
Directed by Ko Nakahira, “Crazed Fruit” showcases the immense talents of its cast members, in particular, its four lead characters — Yujiro Ishihara, Masahiko Tsugawa, Mie Kitahara and Masumi Okada. Much of the film’s success can be attributed to the brilliant performances of its cast, although “Crazed Fruit” also scores for direction, film editing, cinematography, screenplay adaptation and English subtitling.
The film’s visual effects are stunning, particularly in the closing scenes, where Haruji’s revenge lends a spectacular ending to a superb film.
“Crazed Fruit” helped to launch the acting careers of Masumi Okada and Masahiko Tsugawa, both of whom have since risen to become distinguished personalities in the entertainment industry.
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Leh & Ladakh in Jammu & Kashmir, Lava & Lolegaon in West Bengal, Arunachal Pradesh, Kanyakumari in Tamil Nadu, Kumarakom in Kerala, Mahabalipuram in Tamil Nadu, Darjeeling in West Bengal, Jorhat in Assam, Gulmarg in Kashmir, etc some of other popular destinations for vacations in India. There are many India tour packages available in the market to choose from which can cater your needs and interest for holidays in India.
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This is an interesting film in that it explores relationship dynamics–what happens when one half of a couple falls in love with a third person, but is still in love with the other half? These relationships do exist and work in the real world, but are rarely brought to the screen. Love, Jealousy, Fidelity, Surprise at the intensity of emotion–these things are here. I thought it was well done, and the scenery is stunning–a nice touch is how the island’s history is shown off, and the natural beauty of the area.
That said, I was disappointed in that we never actually see the three making love together, which I was hoping for. But the scenery and the emotional lead-up to the relationship between the three is well done. I am, however, glad I didn’t pay more!
This is an uplifting movie for those who wish to escape “winter doldrums” and the pressures of everyday life. Due to being more mature in nature, it is a great movie to “cuddle up with your loved one” and watch together. The scenery alone is worth the cost of the movie!
great movie…makes you want to go to the beach. Wonderful way to spend a chilly evening.
This is truly sad…
I can’t imagine buying this in full screen, therefore, i’m not!!!!! This movie needs to be released in it’s original theatrical version…….with Widescreen and on DVD…….and i’m pushing it by wishing it would come out on BD, the colors are wonderful, along with the scenery and great bodies. Makes you wonder how it would look, doesn’t it!
I’m a french man, and for me and for a lot of french people, this is one of the best french comedy. Jean-Claude Dusse is the most famous french lover all around the world… I think this film must be seen by all person who love France. In our country, the title is “Les Bronzés”. You can contact me if you want more informations.
If you have seen “The Visitors” and if you liked it, you’ll love this one. You’ll see the same actors. It’s a classic. You’ll want to see the 2nd movie “Les Bronzés font du ski” this one takes place in a ski resort. Watch it again and again and again… And laugh your head off, just like everybody in France!
I am French, and all I have to say is that this movie is definitely a classic. It is a must-see! It is absolutely hilarious and will give a glimpse of French culture, even if the movie is two decades old. The second one, “Les Bronzés font du Ski” is excellent as well. I SERIOUSLY recommend both. Mais oui!!
It’s hardly original to portray a callous young generation that has rejected all tradition and lives in violent hedonism without any moral compass. But when a society has undergone an upheaval, that old story starts to ring especially true. Shintaro Ishihara became somewhat of a star in postwar Japan with a series of short stories that explored precisely this subject. Some of them were quickly made into films, of which Crazed Fruit is one. Its shock value may have diminished over the years, but it still has a powerful dark sensuality that hasn’t dated at all.
Ishihara’s writing tends toward a Mishima-like discursive style, but this film is terse and believable. Two brothers, the sons of some shady businessman or other, arrive at their summer home. They spend the days in idleness, lounging around in their house or their boat, and hanging out with their drinking, gambling friends. The friends like to flaunt their modernity and disdain for tradition in conversation. But the film finds the right note for these dialogues — the boys talk like arrogant, pseudo-intellectual young men, not like philosophically inclined writers. They talk in order to demonstrate their swagger, without putting too much thought into the content. I actually wish that the relations between the boys were a little more developed in the film, since it catches this atmosphere of bravado so well.
The distinctions between the brothers are what one would expect from this story. The older brother is an accomplished rake and debaucher, and likes to brag about his conquests to everyone within earshot. The younger brother is naive and inexperienced, but wants to emulate his brother’s cool image. But the film’s depiction of these standard character types captures a few details that make them much more real. First of all, the brothers are not the chiseled movie-star types that represent Decadent Youth in French and Italian films of that time. The younger brother is handsome, but in an ordinary way, and has the boyish, sullen awkwardness of someone who just started thinking about girls instead of sports. The older brother is fairly plain in appearance, and relies entirely on his confident sneer to impress girls. But his confidence is largely an act, and when something happens that he doesn’t know how to deal with, the sneer vanishes and he looks lost. It becomes clear — much clearer than in, say, Antonioni’s L’Avventura — that these youths are not really ready for the cool and independent lifestyle that they claim for themselves.
Of course, the story needs a beautiful girl. As expected, the younger brother falls for her, but it turns out that she has a dark secret, and so on, and everything ends badly. But the film’s portrayal of the girl is also interesting. In keeping with the archetype, she is older than the boy, and much more experienced. But she’s not the cold, selfish, androgynous seductress of the French New Wave. She’s very girlish and feminine, without the ideological exhibitionism of the boys. She is unhappy, but does not ostentatiously display her unhappiness to her lovers, unlike the New Wave heroines. Her unhappiness is not thought out at all — she’s just very confused, and ready to fall in love with anyone who shows her the least affection. It’s clear that she is not intentionally deceiving the younger brother, that she really loves him. When the older brother goes after her, she feels that it’s wrong and objects, but she is drawn to him anyway, despite herself.
That’s the endearing thing about Ishihara’s work — his characters are nihilistic and arrogant on the surface, but deep down, they’re all sentimental romantics. The cool, cynical older brother decides to play around with the girl, but quickly finds himself in over his head. The younger brother wants to be cool and cynical, but instead falls in what he thinks is true love. The girl seems like a knowing, mysterious vamp, but is actually sweet and vulnerable. She’s not really any wiser than the boys.
The ending is suitably gloomy, but it’s the one unsatisfying part of the film. I could see the young man bottling up his anger and hating the girl and his brother, but still, she’s his first love and he can’t imagine life without her — I’d think he’d probably just break under the pressure and ignominiously crawl after her, desperately begging for affection. But, well, Ishihara was not a subtle writer, and he wanted chaos to befall his overreaching, prematurely adult characters. And there was the shock value to consider. Then again, any other ending would have probably been just as unsatisfying. In reality, this kind of story could have no ending, just a very long, painful and tedious decline. This way, at least it reflects the film’s overall dark tone.
But that tone is very affecting. The scene where the younger brother takes the girl to a secluded grotto after the party is brimming with passion. There is a yearning feeling throughout the film, and it’s especially strong when the setting appears casual. Like when the boy goes looking for the older brother, and finds him and his friends in a house with lazy, half-dressed girls. That languid indolence, in that radiant sunshine, is overwhelmingly intoxicating to a young man who on one hand has too much free time, and on the other hand is not confident or cynical enough to enter the world he idolizes. With the film’s luxuriant setting and energetic pacing, the story becomes a forceful evocation of hungry, insecure desire.
This review is for the Criterion Collection Edition:
I won’t go into the plot, since that seems to have been covered fairly accurately and completely by others. I will say that within moments of watching the open scene with Haruji speeding along in his boat, the jazzy background music playing in the background, I was hooked. The movie is full of fascinating camera movements, music, and acting. The characters are selfish, decadent, and rebellious… and yet we somehow feel sympathetic for them, even before it leads to disaster.
I was certain I’d go searching for more films by Director Ko Nakahira, but according to the fantastic commentary by Donald Richie, after this commercially and critically successful film, he was forced to make standard dribble by the studios. That’s a shame, because this is a film where he obviously took risks with the camera, dialogue, and sexual innnuendo. Richie’s commentary helps the Western viewer put a lot of the movie into context, explaining Japanese social and film-making trends at the time as well the fate of the major actors. I was dying to know why the car was right hand-drive though, and he never answered that one!
The essays included in the Criterion set are also insightful for putting the movie into context, although none of this “context placing” material is necessary. Watch the movie and you’ll find yourself feeling nostalgic for the late 50′s in Japan–a time and place I doubt most knew about before.
Arguably, all Japanese film has been about the struggles between modernism and traditionalism in Japanese culture, an ambivalent struggle which subsists to this day and is a huge influence on Western ideas of postmodernism. Crazed Fruit sticks out because it’s one of the most “Westernized” of them, to the point of questioning Japanese youth’s forgetfulness of traditional values. In Crazed Fruit, the “traditional” only exists in parents houses… the rest of the sets, the costuming, the cars, the activities, the dialog, and the characters are very into American trends in a movie made during American occupation. The movie is stylized around the beach party movies of the 50s Americana and the existential thrillers of the French.
Two brothers are vacationing on a beach side (‘vacationing’ is pretty much all they do throughout the grand majority of this movie) when the younger, more innocent one, Haruji, falls for a beautiful young woman he keeps running across. Everything seems to be turning out swell for young Haruji and Eri, until his brother discovers that Eri is actually married to an Americanized businessmen. Instead of going the honorable route and telling Haruji about this fact, his brother decides to use the information as lateral to get Eri for himself. Thus starts a morbid love triangle as Eri is torn between a naive younger brother and a womanizer older brother all while hiding it from a mostly absent husband. Tragedy ensues.
It’s a really well-made film, but it has its problems. Its biggest one is that none of the characters are very likeable. It’s really hard to want any of them to succeed, really, which takes a lot of drama out of what is an otherwise extremely effective ending. Also, the relationship itself is a little overdramatic, the type of story that reminds today’s audiences of the type of people who would appear on Jerry Springer than anything else. It’s morbid ending goes a little unearned when it comes down to a jerk older brother and whiny younger fighting over a woman who can’t stand up for herself.
That’s not to say that it doesn’t have its qualities. The music is a highlight, plus some very amazing imagery, especially beach-side. A montage of close-ups as young characters discuss the state of Japan is one of the movie’s most brilliant sequences, not to mention the build-up of tension at the end.
The thing is, it’s quite clear to see that at the time this came out, it would have been a shocking and unique movie for Japanese audiences. The way it portrays sexuality, the existential ending, and the break-down of family values in the older brothers’ sleaze and Eri’s infidelity was very unique to that time, moreso in Japan than in America. Today, however, Japanese cinema has more than moved on, and this type of story is too familiar to Western audiences. It’s not too often that a foreign film feels “dated” because of the fact that they come from a different culture that has a different historical and sociological perspective. However, Crazed Fruit is, indeed, dated. It still serves as a commentary motivated through melodrama, but it’s mostly interesting today for providing a useful link between the very different post-war Japanese cinema and the Japanese cinema of today; for non-Japanese cinema history people, I’m not too sure it has much to offer.
–PolarisDiB
Crazed Fruit may have been something to see in 1956, but today, viewing it reveals a poorly done film, bad actors, terrible script and maybe even worse English translations. The focus of the film is a relationship a married woman has with two brothers. The brothers become rivals for the love of the woman. The film depicts Japan’s more privileged youth, well-dressed, drinking and partying beach bums.
The film does not allow the viewer to connect with the brothers, and we really don’t get an emotional reaction out of the woman they are in love with. There is no substance, no feeling, no movement. It is quite predictable, neither challenging or creative.
To add to the poor script, the actors were hardly convincing. The love scenes, if you can all them that, are cold and unemotional, nothing to make the viewer feel for the characters. With the cold, brief, unemotional kissing scenes we see a sharp contrast, a man’s hands on the woman’s breast. Maybe, just maybe this scene was deleted in the late 50s. Scenes are plenty of the ocean, and we see those soaring boat-on-ocean-scenes, where the actors hair remains untouched by the ocean wind.
There is a commentary, which surprisingly was better than the film!! Translations are quick, as there is a lot of dialogue, and with this, it is difficult to identify which brother is which, as we say about foreigners, “they all look alike”. Skip this, it is going on my Listmania Foreign Films Just Plain Bad. ….Rizzo
-The house sitter from hell is pretty much what the movie is about and whiles that’s not new territory it still works for the most part. Plus there is this whole aspect of the hunted becoming the hunter which I believe makes about the 6th time this year that I’ve seen a movie with that motif. The way the main character gets his revenge is a very clever one though and I guess if had to slowly kill someone I’d trap them in a box too and taunt them on a video camera. That whole video camera and being trapped in a box to me was far more interesting than anything in the movie. I wish the whole movie had being about that instead of the slow moving and sometimes disturbing story that we get here.
-The only reason I rented this movie was for the Aussie beauty Radha Mitchell, and I have to say I was little disappointed after seeing the movie. It’s not that she’s terrible in the movie, far from it. It’s just that she pretty much gives a cameo performance. Her screen time is probably about five minutes total, and in the scenes that she’s in she’s either having sex with someone or doing something equally suggestive. I’m sure if you find her hot then you’ll love her scenes in the movie, but for those of us that find her beautiful and share no naughty thought about her, it may require the use of the fast forwarding button. And according to Reiss the reason why her character had about three lines in the movie was because she was originally written as French character.
-Boyd Kestner who plays the domineering Zack Taylor, and he pretty much gives the best performance in the movie. He plays the a**hole that we all know that thinks he’s the s**t and has a way to exert his authority on anyone. Even when he’s weak and trapped in a box he still manages to scare and intimidate. This is the first with Kestner that I’ve seen and I really hope that the man catches a lucky break and does something that garners him more attention because he was amazing in this movie. Paul Hipp plays the dormant Robert very brilliantly and he does a great job of playing a man that spends the movie being told what to do. In the latter moments of the movie when he finally grows some testes and figures out how to stop Zack we get to see a much more lively version of him and Kipp plays that nicely as well.
-Like Michael Bay, Antoine Fuqua, Spike Jonze, and F Gary Gray, Director John Reiss also comes from the music video world but since a bulk of his videos have been banned on MTV I don’t think they are ones that anyone has seen before. He has a very assured style of directing and never rushes things which is great, but a little speed wouldn’t have hurt this movie. things that should have been done in two minutes went on for what felt like ten minutes. The movie is only about ninety minutes long, but it sure does feel longer. I wouldn’t have minded if the slow moments had something interesting, but the ones we get here are filled with either sex scenes that make you fast forward the movie, or Robert moping around the house with a “woe is me” demeanor.
-The one thing about the movie, which was apparently a huge issue in the casting of the movie, is the whole “rape sequence”. The clever thing that the Reiss does with the scene though is not show the thing but rather just suggest it, and show it start then cut away. That to me was greatly effective and even though we don’t get to see anything it still left me in a bit of a sour mood. I didn’t crack a smile or feel good about anything after that scene for about a good 30 minutes which is a great credit to Reiss. The scene is a turning point in the movie so it was a necessary one but at the same time a bit unnerving, which is why so many people turned down the role of Zack. I think there were better ways for him to have shown the whole dominance aspect, but what we have in the movie is fine. It makes the movie harder to enjoy, but it still works fine.
-It has its problems but overall it’s a pretty decent flick. If you’re a die hard Radha Mitchell fan then I won’t recommend it because she’s barely in it. However If you’re in the mood however for a tale of dominance and revenge then this maybe your ticket.
I’m not going to tell you how the movie ended like the previous poster had, thank you very much. If you like diabolical movies, then add this to your list of ones to watch. It’s predictable in a many ways with a sick surprising ending. I wasn’t enjoying it much and not too enthuses about this cuz it’s not my type of movie and i would not watch it again due to the nature of the subject matter which is twisted. My question is ‘who is the 2nd husband of cleopatra?’ which is what i was trying to figure out during the whole movie.
The first half of this film actually works well because the dynamics of the two couples portrayed are sizzling, punchy, and smart. One of them is a yuppie duo made up of a photographer obsessed with somewhat creepy subjects, and his wife who’s equally compulsive in her behavior about trying to become pregnant. These two obvious uptighters are paired off against a couple who are the obvious opposite–wild with enormous libidos, selfish, and inconsiderate.
It’s when the film progresses to the dynamics of the two men alone that it encounters serious problems. The interaction here is much too forced, contrived; there’s a lot of treading water here, but the water is pseudo-water and the treading is thrashing about without a reason. After all, why thrash around in water that’s not even water? Without giving away the plot points here, it’s just not credible that the dominant one of this male pair would continue to accept the ministrations of the other man after a major problem arises. In addition, the dominant guy’s treatment of the other man is much too crudely handled.
This obvious lack of credibility ruins the entire second half of the film whose ending would otherwise be very creepy. But because the events leading up to it really don’t work, the ending suffers considerably. We just don’t buy it.
Had the filmmaker thought through the interaction of the two men more carefully and plotted the film in this middle section more believably, this would have been a significantly stronger piece of work. As it is, it is a muddle whose three stars are for the strong first half and some definite creepiness in the ending section. In addition, any title that requires serious cogitation to understand (after which it is STILL not understood) is perhaps somewhat suspect.
Full disclosure: I rented this film because a former boyfriend of mine was the director of photography and I was curious to see what he’d been up to. For a low-budget film, it is gorgeously filmed (good job, Matt Faw!) and well acted. Given the title and the word “erotic” on the cover, I was expecting the plot to evolve into a kinky threesome, but instead its twistedness takes a whole different route. It starts out normally enough: a couple who’s stressed out from trying to get pregnant takes a vacation and allows another couple they don’t really know to house-sit. When they get back, the house-sitters won’t leave. The mind-games quickly escalate and eventually turn violent and unexpectedly (but very inventively) sadistic. Not a date movie, but definitely worth watching if you like odd, twisted, offbeat films. (And the director’s commentary only added to my appreciation of the cast and crew’s achievement.)