Tengoku to jigoku (1963)

Calificación de los usuarios:

8.1/10   

Director:

Akira Kurosawa

Escritores:

Hideo Oguni (screenplay) &
Ryuzo Kikushima (screenplay) ...

Fecha de Lanzamiento:

26 noviembre 1963 (USA)

Género:

Crimen | Drama | Suspenso

Plot:

An executive mortgages all he owns to stage a coup and gain control of the National Shoe Company, with...

Plot Keywords:

Ransom | Shoe | Police | Chauffeur | Briefcase

Premios:

3 wins & 3 nominations

Comentarios de los usuarios:

About the best police procedural you're ever likely to see

US Showtimes:

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Reparto

Toshirô Mifune	...	Kingo Gondo
Tatsuya Nakadai	...	Chief Detective Tokura
Kyôko Kagawa	...	Reiko Gondo
Tatsuya Mihashi	...	Kawanishi - Gondo's Secretary
Isao Kimura	...	Detective Arai
Kenjiro Ishiyama	...	Chief Detective 'Bos'n' Taguchi (as Kenjirô Ishiyama)
Takeshi Katô	...	Detective Nakao
Takashi Shimura	...	Chief of Investigation Section
Jun Tazaki	...	Kamiya, National Shoes Publicity Director
Nobuo Nakamura	...	Ishimaru, National Shoes Design Department Director
Yûnosuke Itô	...	Baba - National Shoes Executive
Tsutomu Yamazaki	...	Ginjirô Takeuchi - Medical Intern
Minoru Chiaki	...	First Reporter
Eijirô Tôno	...	Factory Worker
Masao Shimizu	...	Prison Warden

También conocida como:

Heaven and Hell (International: English title) (literal title)
High and Low (USA)
The Ransom (UK)
El cielo y el infierno (Argentina) [es]
El infierno del odio (Spain) [es]

Duración:

USA:142 min

País:

Japan

Idioma:

Japonés

Color:

Negro y Blanco | Color (Eastmancolor) (inserts only)

Relación de Aspecto:

2.35 : 1

Sonido:

4-Track Stereo (Westrex Recording System)

Clasificación:

Australia:PG | Argentina:13 | Finland:K-16 | Sweden:15 | Switzerland:12 | UK:12 | UK:A (original rating) (cut)

Locaciones de Filmación:

Enoshima, Kanagawa, Japan

Compañía:

Kurosawa Production Co.

Trivialidades:

There is one shot of the movie that is in color - the scene of the colored smoke rising from the incinerator. Some television prints botch this and have the scene in black and white instead, diluting its impact.

Citas:

Kingo Gondo: Why should you and I hate each other?
Ginjirô Takeuchi, medical intern: I don't know. I'm not interested in self-analysis. I do know my room was so cold in winter and so hot in summer I couldn't sleep. Your house looked like heaven, high up there. That's how I began to hate you.

Conexiones de Película:

Apareció en Tsutomu Yamazaki on 'High and Low' (2008) (V)

Banda de Sonido:

Die Forelle

About the best police procedural you're ever likely to see

Toshiro Mifune is a businessman in a Japan that is on the brink of the Economic Miracle of the Sixties. He is an honest man who loves his job as a shoe factory exec and is in a battle for corporate control against a pack of hyenas. He has mortgaged and borrowed and scraped to raise the money for a surprise coup when his son is kidnapped. But there is a major plot twist: it is not HIS son that was taken but his son's playmate, the chauffeur's kid and the ransom demanded is astronomical. If he pays he will lose everything he has worked so hard for, but can he just sacrifice the chauffeur's child because it is not his? From here on High and Low (perhaps better translated as Heaven and Hell) is a police procedural based on an Ed McBain 87th precinct story.

Watching this film I had a rare, almost unique, experience. I saw it on a fairly screen tv, letterboxed, in a darkened room. All the preceding conditions helped contribute to put me into an objective/subjective middle ground where I had the feeling of looking through a special visor that allowed me to see the world by means of an almost perfect film as if through the eyes of a cinematic genius who is in total command of his artistic means and in total command of his subject matter. I think the key to this experience is that while High and Low is interesting as human drama, it is yet peculiarly uninvolving emotionally but very involving cinematically. These distances are important in Kurosawa's films (he is high on my list of top ten directors but after Welles). In IKIRU you probably could not be more deeply involved emotionally, while in RAN there is nothing but relentless distance.

I think a good companion film to watch with this would be Kurosawa's earlier, looser, but much more individually tense, police film STRAY DOG (this time Mifune is the cop)