The Eel

'The Eel' is a 1996 Japanese drama film written and directed by Shohei Imamura, based on a novel of the same name by Kaoru Takao. The film tells the story of Kogora, a wealthy businessman who has led an extravagant and morally bankrupt life. His world is turned upside down when he discovers that his wife, who has been secretly living with a younger man, is planning to leave him for good. Drunk and enraged, Kogora stabs and kills his wife, and subsequently serves 18 years in prison for the crime. When he is released from prison, he is an old man, and his family has largely abandoned him due to his crimes. Feeling isolated and without direction, Kogora decides to open a barbershop in the small town of Omuta, where he hopes to make a fresh start. As Kogora begins to settle into his new life in the barbershop, he is met with a mixture of curiosity and suspicion by the townspeople. Most of them view him as a monster who has committed heinous crimes, and it is difficult for Kogora to form meaningful connections with anyone. However, there is one individual who is kind to him and befriends him - an eel that he captured during his time in prison. The eel has become a symbolic companion for Kogora, much like the eel did for him while he was in prison. It represents a reminder of Kogora's past, but also of the possibility of redemption and renewal. Kogora talks to the eel as he would with a human, sharing his thoughts, emotions, and secrets. As the film progresses, Kogora's connection with the eel becomes a powerful metaphor for the human desire for companionship and the capacity for loneliness to lead one to the depths of despair. Through Kogora's interactions with the townspeople and his reflections on the eel, the film explores themes of isolation, guilt, and the search for forgiveness. Kogora's actions in prison and the circumstances that led him to kill his wife are gradually revealed through a series of fragmented and impressionistic scenes. The film is thus presented in a non-linear fashion, with the narrative unfolding through a combination of flashbacks, present-day sequences, and the reflections of the eel. Throughout the film, Imamura's meticulous attention to detail and his willingness to confront difficult subjects bring a sense of realism and authenticity to the narrative. The cinematography is striking, with the use of stark lighting, deliberate pacing, and a muted colour palette to capture the bleakness and desolation of Kogora's world. In many ways, 'The Eel' can be seen as a companion piece to Imamura's earlier film, 'Pigs and Battleships', which dealt with similar themes of violence, guilt, and redemption. However, while the former film was more focused on the external circumstances of Kogora's life, 'The Eel' delves deeper into his inner world, exploring the psychological complexities that have led him to where he is today. Ultimately, 'The Eel' is a powerful and poignant portrayal of a man grappling with the consequences of his actions. Through Kogora's story, Imamura reveals the human capacity for cruelty and the devastating effects it can have on ourselves and others. At the same time, the film also offers a message of hope and redemption, suggesting that even in the darkest of circumstances, there is always the possibility for forgiveness, healing, and transformation.