Pigs and Battleships (1961) torrent download

Pigs and Battleships

1961

Action / Comedy / Crime / Romance

7.5

Synopsis

In Yukosuka, many are able to benefit financially, legally and illegally, by the presence of the American naval base established after the war. Kinta, who is low level thug within the Himori yakuza, takes care of the yakuza's pig farm but provides some muscle in shaking down among others shopkeepers who cater and this benefit from the lucrative American military trade. Kinta is often asked to sacrifice himself for the yakuza, the promise being that the yakuza will ultimately recognize the sacrifice with bonuses and promotion within the organization. Kinta's girlfriend, Haruko, a barmaid, doesn't like his life and would prefer that they escape Yukosuka to Kawasaki where they could get jobs in her uncle's factory, something that Kinta continually resists in not wanting to be a "wage slave". Haruko is also continually pressured by her mother to prostitute herself, Mr. Gordon who is willing to pay top dollar to be his kept mistress. Kinta and Haruko's fates will be partly affected by the ...

Director

Shōhei Imamura

Cast

Tetsurō Tamba
as Slasher Tetsuji
Shoichi Ozawa
as Gunji, Gangster in check shirt

Movie Reviews

Reviewed by sharptongue 8 /10

An angry, biting film

Teen hoodlum Kinta is excited to be given the plum job of supervising the pig pen at the local US base, for which he'll be responsible diverting the food scraps to the black market, and scoring a good income for his yakuza gang. His girlfriend Hiroku earnestly hopes he'll leave the yakuza and get an honest job, but neither is she a paragon of virtue - she is drawn into prostitution and petty thievery. The story mostly follows their troubled relationship, against a backdrop steeped in corruption, which results from the clash of US Forces occupation against the poverty and aspirations of the people of post-war Japan.

A scathing, even cynical critique. There is no tenderness at all here. Even the young lovers embracing is shown more as a desperate clinging than emotional attachment. And corruption is everywhere - there are no good guys. Confronting stuff, well-photographed, memorable as a vivid nightmare.

Reviewed by mevmijaumau N/A

Pigs and Battleships (1961)

It's no wonder why Shohei Imamura's films are often considered a contrast to his mentor Yasujiro Ozu's films. Ozu's films are static, simple, about the polite middle class families with fairly uneventful lives. Imamura, on the other hand, was more like an amateur anthropologist seeking beauty or poking fun at a chaotic society getting caught up in corruption, nationalism, swindles of all kinds and its international relations.

Pigs and Battleships is a turning point in Imamura's career - from now on, his films all have that characteristic style of his. Fast pace and constant motion, characters living on the boundaries of society, a satirical view on the society itself, and many interesting camera techniques which make the movie feel alive and pulsing, unlike in traditional Japanese cinema up to that point.

In this movie, Imamura satirizes everyone and everything, from American soldiers, who are portrayed as dumb pleasure-seekers at the cost of everything, to Japanese (anti)nationalists, yakuzas and other opportunistic criminals, to the scheming Chinese gangsters who then in turn get swindled by a Hawaiian-Japanese fellow. This entire multi- cultural chaotic mess cannot be expressed more beautifully, and gives birth to one of the stranger insults I've heard in a movie ("International whore!").

Imamura's film, like always, doesn't follow a strict plot line, but instead focuses on as many characters as you can shove into the film's runtime. From the moral dilemmas of the protagonist's girlfriend, who longs for a better life in Kawasaki to the yakuza boss succumbing to illness. There is so much to follow and makes the movie constantly fresh. In a lesser filmmaker's hands, this kind of free-for-all, gambit pileup plot setup would be annoying and unfollowable, but Imamura's pacing salvages the entire story and holds it together, climaxing in the best scene I've ever seen that contains pigs and machine guns.

Another great thing about the film is how it's both comical and tragical in turns, but never does anything feel forced. During tragic scenes, there's never a cheap, tear-jerking musical accompaniment and pathetic lines of dialogue, same as how the funny scenes don't ever feel intrusive, they just effortlessly find their way into the movie's fabric. Every quality I've mentioned above is pretty much why Imamura is one of the greatest New Wave directors.

Reviewed by Meganeguard N/A

Have Some Pineapple

Because I am now currently working on an essay concerning Japanese New Wave cinema, I have been delving into a number of films directed by the likes of Oshima Nagisa, Wakamatsu Koji, and Masumura Yasuzo as well as films by the French directors Jean-Luc Godard and Jean-Pierre Melville whose own films in France's New Wave movement paralleled that of the Japanese movement resulting in influences crossing between the filmic world of the two countries. Oshima is normally the standard bearer for the Japanese New Wave movement after the release of his debut film Streets of Love and Hope (1959) and his work throughout the sixties would have a powerful intellectual leftist bent confronting such issues as discrimination, poverty, and disgust with Stalinist influenced violence. On the other end of the spectrum Wakamatsu Koji would be written off by many critics because of his primary involvement in pink films, including such disturbing works as The Embryo Hunts in Secret (1968) and Go Go Second Time Virgin (1969). Masumura's works would often straddle between intellectual leftist cinema and pink films, but such films as Kisses (1957) would open the doors for new directors trying to escape from the filmic ideals of Kurosawa, Mizoguchi, and Kobayashi.

Amongst these New Wave directors was the figure of Imamura Shohei. Comparing himself to Oshima Nagisa it is reported that Imamura said, "I'm a country farmer; Oshima Nagisa is a samurai." While this quote can be read on many different levels, one way it can be interpreted is that Imamura's films tend to be more earthy than Oshima's and while still threaded throughout with intelligence they are not quite as highbrow as some of Oshima's films, i.e. Death By Hanging (1968), Diary of a Shinjuku Thief (1968), and The Man Who Left His Will on Film (1970). Supporting this earthly quality of his films, Imamura has stated that his films generally deal with the lower extremities of the body rather than the upper extremities.

Hogs and Warships concerns the daily life of Kinta, a smalltime gangster in Yokosuka who spends most of his time hustling American sailors and taking them to the local brothels. In fact, the world of Kinta and those around him are completely linked with the naval base, because the American sailors are who bring the money into the squalid town. When not acting as a gopher for his superiors, Kinta spends his time lounging around or seeing his eighteen-year old girlfriend Haruko. Haruko, much more practical minded than her boyfriend, wants Kinta to give up his life as a gangster and become a factory worker with her uncle in Kawasaki. However, Kinta is completely against the idea because he does not want to end up like a wage-slave like his father who was dumped by his company after he got sick. Therefore, he wants to make money instead through being a band leader or a pimp instead of living a complete hand-to-mouth existence as a factory worker.

Kinta believes that he has received a good opportunity to improve his and Haruko's standard in life when his boss appoints him as chief of a piggery. However, there are several complications because of the difficulties receiving scraps to feed the pigs and this leads to a number of problems for Kinta and Haruko.

While on first glance, Hogs and Warships might seem to be typical yakuza film fare, it is fact laced with a strong social commentary on Japan's reliance on America and its "support" of America's further military actions within Asia, especially the Korean War. While there are indeed some quite comic moments in the film, there are also some brutal ones as well such as when a drunken Haruko has her run in with three sailors. While not always a pleasant viewing, Hogs and Warships is a must for those who are interested in the films of Imamura Shohei or Japanese New Wave cinema as a whole.

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