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Crazed Fruit (Criterion Collection) Director: Kô Nakahira Number of Items: 1 Format: Black & White, Closed-captioned Audience Rating: NR (Not Rated) Running Time: 86 minutes Studio: Image Entertainment Product Group: DVD Release Date: 2005-06-28 Buy from Amazon

From Amazon.com Crazed Fruit ushered in a new era for Japanese cinema. Shot in 17 days (extravagant by Nikkatsu Studio standards), the film's strong language, intimations of casual sex, and complete disregard for authority, would unsettle an entire nation, while blazing a path for the likes of Seijun Suzuki and Nagisa Oshima. (Even François Truffaut was impressed.) It begins one leisurely summer as brothers Natsuhisa (Yujiro Ishihara) and Haruji (Oshima star Masahiko Tsugawa) sail, water-ski, and make "boredom their credo''--until both fall for the married Eri (Ishihara’s future wife, Mie Kitahara). In short order, boredom will be replaced by tragedy. Inventively lensed by Shigeyoshi Mine (Tokyo Drifter), Ko Nakahira's controversial debut was the centerpiece of a 1956 trio of taiyozoku, or "Sun Tribe," films about affluent youth written by novelist-turned-politician Shintaro Ishihara (Yujiro's brother). The suitably dark and jazzy score is by Kurosawa vets Masaru Sato (Yojimbo) and Toru Takemitsu (Ran). --Kathleen C. Fennessy From Description Two brothers compete for the amorous favors of a young woman during a seaside summer of gambling, boating, and drinking in the seminal "sun tribe" (taiyozoku) film from director Ko Nakahira. Adapted from the controversial novel by Shintaro Ishihara—and critically savaged for its lurid portrayal of post war sexual revolution among Japan's young and privileged—Crazed Fruit is an anarchic outcry against tradition and the older generation.

Customer Reviews: Total numer of reviews: 5 Average rating: 4.0 "Stylized, Over-the-Top Look at a Love Triangle Among Bored Youth" It's ironic that this movie has an establishing scene in the Kamakura train station, the same locale used by master director Yasujiro Ozu in his classic home dramas, "Late Spring" and "Early Summer". But that's where the similarity ends, as this jazz-infused, troubled-youth 1956 film is truly the antithesis of Ozu - tawdry, explicit and in-your-face. If you were to watch this movie solely on the basis of the campy trailer that comes with the Criterion Collection DVD, you would think you were going to watch something quite cheesy and exploitative similar to the cheapjack American teenage rebellion films of the period like "High School Confidential" and "The Beat Generation" - all raging hormones, James Dean wannabes, pervasive use of back projection, deep shadows and saucy saxophone riffs. To some degree, you would be right, but first-time director Kô Nakahira seems more inspired by French New Wave in his use of jump cuts and handheld camera shots. The stylistic touches and then-shocking sexual frankness do elevate this low-budget film but from my perspective, not really at the level that film scholar Donald Richie would have you believe in his informative commentary. The story revolves around two restless brothers - older, predatory Natsuhisa and virginal, self-righteous Haruji - who battle over a mysterious girl named Eri, seemingly innocent and ideal at first but a more decadent character emerges as the plot unfolds. There are lots of scenes of bored, immoral youth with cash to burn and no aspirations beyond water skiing and getting drunk and laid. The love triangle inevitably leads to tragic, almost Baroque consequences in its brief, 86-minute running time with some surprisingly effective camera angles tightening the vise of the characters' illicit behavior. The performances seem rather derivative of American icons like Clift and Dean though effective within this context - Masahiko Tsugawa effortlessly brings out the teen angst in Haruji, Yujirô Ishihara portrays the jaded horn dog that Natsuhisa has become with abandon and a certain élan, and pretty Mie Kitahara does manage to elicit sympathy to a character that seems to reveal one moral weakness after another. I have to admit the over-the-top elements are what makes this film memorable - the great title, the foreboding clarinet solos and twangy Hawaiian guitars of Masaru Sato's and Toru Takemitsu's insinuating score; Masumi Okada as Frank, a half-white, half-Japanese observer of the brotherly unraveling (and by default, the film's moral conscience); and the extended and truly suspenseful circling boat sequence at the end. Definitely take a look if you want a peek at the nihilistic youth culture of mid-1950's Japan, certainly a universal theme during that period. "Bruised Fruit" Penned by Ishihara Shintaro, the same ultraconservative politician-author who wrote The Japan that can Say No, Crazed Fruit depicts the lives of privileged Japanese young people during the 1950s. Unburdened by Japan's militaristic past that their parents' generation had to endure, the members of the Sun Tribe, a name given to certain groups of teenagers during this era, were able to enjoy the early fruits of the early capitalist Japan. However, well aware the faults and frailties of the previous couple of generations, these teenagers desire to toss aside traditional values and to create new ones. Yet, if this film could be used as an example, the only things they seem to gain are material items and boredom. The central characters of this film are the brothers Natsuhisa and Haruji. Seasoned in the ways of the Sun Tribe, Natsuhisa spends his days in such "decadent" activities such as playing the ukulele, water skiing, and playing cards. Joined by his mixed blood friend Frank, the duo, along with a few other friends, seem to do little more than chase after girls and hang out at the beach. The younger brother Haruji, however, is still a bit naïve and while not fully engraining himself in his brother's lifestyle, obviously wants to make an impression on the older boys One day at the train station Haruji encounters a young girl and is immediately smitten with her squeaky clean image. Eventually Haruji and Eri become a couple and the young man is elated because of his good fortune. Besides a few innocent first kisses, their relationship remains quite tame and it seems the young lovebirds are willing to take things slow. Yet, of course, a dark cloud begins to hover over their relationship when Natsuhisa becomes jealous of his younger brother and they worsen even more when Natsuhisa discovers that Eri is not quite the girl she makes herself out to be. Quite tame by today's standards, and in comparison to the original novella, Crazed Fruit caused quite a stir back during the 1950s because of its depiction of teenagers drinking, sleeping around, and getting into fights. However, it helped usher in a new type of film that focused on teenagers. Instead of depicting youths doing all in their power to strengthen Japan, these new films depicted dispirited youths suffering from ennui whose only care was to fill empty time. "Sublime Experience in the Backdrop of the Treacherous Quagmire of Love..." The 1950s were a time of distrust among the adolescent and young adults where older generations and traditions became a target for suspicion. In the post-war world juvenile delinquency and resistance to the ways of the old traditions became more prominent. It was not a mere Japanese issue, as youth throughout the world, mostly in Europe and the United States began to openly express their contempt with society's old ways. Films such as Rebel without a Cause (1955) among others helped spreading the discontent with older generations to other continents. Crazed Fruits became the Japanese version of Rebel without a Cause, as it tells the story of two brothers, Natsuhisa (Yujiro Ishihara) and Haruj (Masahiko Tsugawa). The ingenious opening by director Kô Nakahira displays a boat approaching with high speed on the calm sea while a descending sun reflects its light on the surface. A sudden cut displays the rear of the boat that demonstratively displays the velocity of the boat, as high waves are forced to the sides. The camera subsequently brings the audience to the front of the boat presenting a young man in three quarters frame while slowly focusing in on his face. This young man, Haruji, is sweating while his eyes continually shift direction with a face that radiates apprehension. It is an artistic and clever beginning, which instills both uneasiness and suspicion. Underneath the surface, the opening scene could create a symbolic statement in regards to the youth of the 1950's, and in this case Japanese youth. Through an attempt of deciphering the scene several symbols seem to emerge. For example, the ocean provides a symbol for vastness, which could suggest the size of the society in this case. In the middle of this society, there is a boat moving rapidly that offers further symbolic notions of adolescent impatience, maybe even restlessness. In the boat there is a young man, a product of the society, if you will, enlightened by older generations. However, the young man is fearful of the society, as he swiftly scans his surroundings for possible surprises. After the opening the film continues to tell the story about the two brothers, Natsuhisa and Haruj. The older 21-year old brother Natsuhisa is a restless spirit who does not care about school, or the values of the old traditions. He hangs out with a group of like-minded peers led by the laidback Frank who is heavily influenced by American style. Young adults such as Natsuhisa and Frank have gained the name taiyozoku, which means Sun Tribe. These rebellious youths gained this name due to their careless attitude, as they did not try to achieve anything productive. Instead they go clubbing at night, sleep all day, and spend their afternoons on the seaside water-skiing or boating. Natsuhisa's younger brother, the 16-year old brother Haruj, is more innocent and traditional in his manners, and does not like his older brother's friends. As the story unfolds, the audience learns that the girl Eri (Mie Kitahara), plays a significant part in the film, as Haruj cannot get her out of his head after having bumped into her in the beginning of the film. He continues to think of her beauty and creates a vision of her while his brother makes fun of his infatuated manners. The second time Haruj encounters Eri is when he and his brother are water-skiing. Eri is far out from the beaches where water currents are strong, which brings to mind the possible danger of drowning. However, they pick her up and drive her ashore. This situation is loaded with symbolic meaning that brings Greek mythology to mind to which Odysseys' men had to prop their ears with wax to protect themselves. Haruj's innocence establishes a virtuous image of Eri, but his brother later learns the truth. This story eventually brings to mind Antigone by Sophocles, as the brothers seem to begin to battle for the power of the one thing they both desire. Crazed Fruits was written by Shintarô Ishihara who gained an immense group of young followers from this book, as they could recognize themselves in the novel. The film continues in Ishihara's footsteps to illustrate a disillusioned youth that strive to find a way to change things. However, in this story they get stuck, as values and family traditions have been abandoned. Nakahira enhances the tale through brilliant cinematography and visual symbolism, which transcends the written tale into a majestic film that prompted a new wave of cinema in Japan. In the light of more modern film this groundbreaking film might seem shy, but one must take into consideration what was regarded as ok to the authorities of censorship. Nonetheless, Nakahira provides a sublime experience about rebellious youth in the backdrop of the treacherous quagmire of love. "Raw reality" Having lived in Japan for seven years, and taught at a fine University during that time, I saw many young people who were on the fringe of society....even now, and it was unnerving to see the total disregard for others in this film so early after the war. That attitude is still prevalent in Japan. The fact that the attitude seems rather universal in Western societies, and increasingly all Asian societies as well, the young people grow into adulthood, keeping their adolescence. It surely fosters the ME, ME, ME behavior and makes real human compassion difficult in light of this obsessive selfishness. I cringe at some of the scenes in the film because it is such raw reality. Beautiful people doing not so beautiful things, is a fascination for many people, so I think the film will be an interesting wake up call for our present time. "Fruit Punch" Before this movie, anti-social behavior, defiance of authority, family dysfunction, dissolute youth, unpunished violence, immorality and sexual promiscuity, even kissing, were not seen on Japanese screens. So in 1956 when it was released, just as James Dean was rebelling in America and the New Wave washing over Europe, "Crazed Fruit" became a cause celebre in Japan, filling theatres, creating a short-lived genre and influencing future filmmakers. Seen today, we may appreciate its "daring" attitudes, editing and cinematography while at the same time containing our impatience as all the familiarities play themselves out. At a seaside resort, a jaded youth and his innocent brother lust after a young woman who is married to an older American and who is a human cypher. The brotherly triangle is resolved with two murders, but not before a really chilling sequence in which a speedboat repeatedly circles a sailboat. This story, a tad homoerotic and (unbeknownst) told in flashback, may be cliché but the details were new to Japanese audiences (water-skiing! sunbathing! pair dancing!) and owe much to European and American movies; note the homages to George Stevens' "A Place in the Sun" (water sports, sudden swooping close-ups, that radio on the dock.) By issuing this DVD, The Criterion Collection rightly assigns the picture its proper place in the pantheon of world cinema. Film historian Donald Richie, in his informed commentary, maybe makes more of its relevance than the movie actually earns; a second viewing with Richie is oddly more rewarding than a first viewing without him. That's because period context is crucial to our interest. "Crazed Fruit" was a breakthrough in the evolution of Japanese filmmaking; thanks to it, the movies that came after were more complex, innovative and sophisticated.