Across the pond, Japan was also delivering on the genre scene in what would be known as their Golden Age of cinema. Part of the foundations of this era were the big 6 production houses of which Shintoho were significant in the make up. Unfortunately Jigoku would be the last to be released by the company having filed bankruptcy not long after it hit cinemas. Despite this, Shintoho would go out with a bang, producing one of the most compelling films from the country and one that went against the grain of popular cinema at the time to go on to be a cult film in its own right.
With its graphic depiction of hell Jigoku would follow a couple Shirō and Yukiko appear to have it all going for them until one tortuous night when Shirō gets a lift home with his friend Tamura when tragedy strikes. Tamura knocks down and kills a yakuza gang leader, Kyōichi. This incident was witnessed by Kyōichi’s mother and from here on out, the tragedy unfolds with macabre consequences, including the death of Yukiko and the vengeance of the yakuza gang still looking out for justice. And all this is before Shirō goes on a Dante’s Inferno style journey into limbo, fighting for his very soul among the damned and trying to steer him and his family towards enlightenment.
Perhaps it was because they had their backs up against the wall but with extras all pulling their weight to build the sets and complete the last picture for Shintoho, Jigoku was able to weave all these components together to tell a fractured tale of heartache, loss and the fight for purity. It’s the visual imagery that stands it apart from the crowd, with a narrative that leans into the heart and soul of spirituality among the darkness to expose the sinners of hell and make way for grace to shine through. For this, Jigoku deserves its place alongside the other classic films released in the 60s.
– Saul Muerte
Surgeons of Horror 