User reviews

This is the first movie I've seen starring Yujiro Ishihara. I've heard something about the culture him and his brother Shintaro represented in the '50s, but it was way before my time, and I had no idea what this cultural phenomena was about in the '50s Japan. It's nice to find that Criterion Collection have revived this masterpiece.

Writer of this movie - Shintaro Ishihara made his debut as a writer with the novel "Season of the Sun" which described the decadent lifestyle of the affluent youth of Japan a year before this movie was made. The youth culture depicted in this novel was called "Sun Tribe", and in this movie Haruji (Masahiko Tsugawa) has a line where he describes his older brother and friends "They call folks like you the Sun Tribe.". Shintaro's younger brother Yujiro Ishihara plays the role of Haruji's elder brother Natsuhisa in this movie.

Basically, it's about the culture of the affluent set in Japan, but the genius of Shintaro Ishihara was that he already saw through the facade of shallow life style such living can bring and put it down in a novel which was both entertaining, and with style no one had written previously. Such an awesome insight from a person who is still in his early 20s.

The casting of this movie reads like who's who of young actors who went on to support mainstream Japanese cinema, and TV dramas for the next 20 years. This movie is also the debut movie for actor Masahiko Tsugawa who we see frequently in today's movie from Japan. He was called in by Shintaro after Shintaro spotted him at a wedding. Shintaro described that Tsugawa left an indelible impression on him when he first saw him.

Not too many people can stay in forefront of society for over 50 years influencing the course of that society, but Shintaro Ishihara has done just that as he is the present mayor of Tokyo.

Actress Mie Kitahara who played Eri, and Yujiro Ishihara marries four years later, this movie bringing the two together.

I've heard that Shintaro was abolished for writing decadent lifestyle of youth when his first novel Taiyo no Kisetsu (also made into movie in '56) came out, but actually I think this is a movie all youth should see as a warning not to indulge in this type of behavior, as it was the point with Shintaro's writing as well. This movie is written masterfully with all the critical points placed in its right place.

If you watch this movie without the background information of Japan in the '50s, it may appear as few spoiled kids having a wild time, but the true insight of this movie goes much deeper than that. Highly recommended.

What a fascinating film this is. Elements of it surprised me for 1956, and in particular for a Japanese movie. It seems to me a forerunner of the French New Wave, and that this archetypal 'Sun Tribe' effort represents an even bigger departure from traditional Japanese cinema at the time than those films would be to the French. No wonder François Truffaut was such a fan of it.

The story is straightforward - two brothers fall for the same woman - but this is a film about tone, and context. Everything about it screams post-war, disaffected youth. A group of young men are bored, critical of traditional ways, and looking for good times - and young ladies. The younger of the two brothers (Masahiko Tsugawa) has an innocence about him, and falls for a pretty woman (Mie Kitahara) without realizing she's already married. The drama deepens when his older brother (Yujiro Ishihara) begins putting the moves on her behind his back.

The openness with which Kitahara's sexuality is displayed is a little shocking, though there is a grace to it, and it's refreshing to see. She deceives her American husband, and enjoys being the center of attention at a party. With the younger brother she needs to provide encouragement for him to make love to her, in one scene moving his hands up on to her breast. With the older brother, she gives way to his forceful overtures, even after saying 'no' initially. If that sort of thing is a trigger to you, you may want to avoid this one, as it also has the young men competing early on to see who can bring the hottest girl to a party, and other testosterone-fueled chatter. In general, the characters are hard to like, which may also be a turn-off. On the other hand, that's part of the point, and the film shows a reckless and sexually carefree youth in ways that are less inhibited than Hollywood at the time.

All of the principal actors turn in solid performances, and Masumi Okada is quite debonair in a supporting role. Mie Kitahara is quite pretty, and it's interesting that she would marry Ishihara, the actor who plays the older brother, just four years later. There is a little unevenness in the shots director Kô Nakahira captures - some are just beautiful, while others seem low-budget - but it's an impressive first film, and all the more so as it was a few years ahead of the French New Wave (e.g. Chabrol's Le Beau Serge (1958), Truffaut's 400 Blows (1959), Godard's Breathless (1960), etc). It seems to me the film ought to be better known.

I was curious about this movie when I first heard about it, but I was not sure what to expect. Thankfully this movie is a bag of chips, with dip and beer.

The movie revolves around the exploits of well to do Japanese teenagers (possibly early 20's), in post WWII Japan. We mostly follow around two brothers, Natsuhisa and Haruji. They go off to the coast where they hang out with friends, water ski, swim, sail, drink, smoke, go clubbing, get into fights and play a game where they try to pick up as many women as possible. They don't have any responsibility and mostly just lie around, complaining about how there's nothing interesting to do. Just like in the Beatniks they are out looking for thrills.

The conflict in the movie arises from Haruji (the younger brother). Out of the group, Haruji is the youngest and most naive. He meets a beautiful girl, Eri and brings her to one of their parties. She catches the eye of Haruji's older and more "experienced" brother, Natsuhisa. Thus the triangular conflict is set and ready to go.

The movie is quite graphic, considering this movie was made in 1956. In the same way the Beatniks (and other similar period movies) depicted disenchanted and "sinful" teenagers in the US, Crazed Fruit does the same for Japan.

The final scene of the movie is a classic, worthwhile and carnal. I highly recommend this movie.

-Celluloid Rehab

Some of the negative reviews posted do not understand the historical significance of this film (obviously young viewers). You just can't compare it to coming of age films today. This portrayal of Japanese youth in the mid 1950s (ten years after the end of the war) was so shocking to Japanese audiences that the older generation often walked out on the film. As a matter of fact, no American movie at that time could show this type of adultery and sexual pleasure in a film. This movie was loved by Truffaut and very much resembles a French new wave film.

Ko Nakahira's Crazed Fruit is, to put it mildly, an immensely welcome addition to the Criterion roster. It is uniquely modernist, impressionistically rendered, sensual in its physicality, and absolutely unlike anything to precede it in Japanese cinema. To put it bluntly, Ko's film is as significant a break from aesthetic (and moral) traditions as Godard's Breathless would prove to be two years later. The story – nominally an attempt to cash in on the "sun tribe" fashion, whereby children of the wealthy would wile away their summers sun bathing and boating (an unthinkable luxury before the 1950s) – follows the travails of two selfish and licentious brothers whose love of the same girl yields to hyperbolic tragedy of epic proportions. Whether the ending is meant as a conservative suggestion of the moral repercussions precipitated by the making idle of one's hands, or something more bleakly Sartrean, is up to interpretation. What is clear is that none who see it shall ever forget. An epochal masterpiece, based on a book by the current mayor of Tokyo!

This movie will fool you into thinking that its a story about something far more innocent that it actually is... im being vague so as to not give away any of the fun details. I don't know how to put it except to say that I really enjoyed the ride it took my heart on... first I was grinning stupidly at a tale of young love and by the end I had to pause for a moment to realize that my face was contorted in all sorts of disbelief and horror.... awesome!!!

One of the things I enjoy about this movie is that the true villains don't make much of an appearance. Its the character's own spoiled and frivolous lifestyles handed to them by their parents and sexual exploitation by foreigners that ruin these characters long before they ruin each other.

When the mother says, "don't hang out with your brother and his friends, they are horrible brutes etc etc" to which the boy replies "well,you raised him." In the movie this was a joke, and the characters allhad a nice chuckle... but that was the most serious point the story conveyed - the capitalist dream imploding - cuz lets face it, if you have everything you want, you're probably going to be bored and miserable.

In the same way, the very young very beautiful Hari marries the old white curr for his money, but realizes she's lost the most important thing, something priceless, her childhood innocence.

In my interpretation, its not the evil within these characters that leads to their undoing, its the evil they were subjected to. I want to believe there's good in them, and the actors do a brilliant job of keeping us wondering and uncertain about that because of the extremely nuanced and balanced performances.

The actors who play the brothers are brilliant, the younger especially, who has a very understated but creepy air about him...

In the end, all i can say is "bone chilling!!!" haha... watch it.

Forgotten now in the UK, but dubbed in French and given English subtitles it was touted around second rate British cinemas in 1958. It was cut, and the BBFC in its current state does not tell us that, and wore its 'X' certificate for adults only with pride. The French respected it more, and Truffaut was impressed and made it respectably noticed by the public there. It heralded the Nouvelle Vague with a very loud trumpet, but in my opinion it caught the rebellious spirit of youth better than the Nouvelle Vague did. It showed real teenagers instead of the twenties something people that the French presented. It also outdid Hollywood as well and you only have to see the ' teens ' in ' Rock Around the Clock ' to see that. It is an astonishing film, tumescent in its presentation of the need for hungry sex, and is bisexual in the sense that it presents both girls and boys in a state of constant sexual excitement. Nothing too graphic is shown, but it rages with its often frustrated need for sex, clothes pared down to very revealing swimsuits and the boys clan together and even play strip poker with each other. There is also a lingering shot of brother looking down at his sleeping semi-naked brother which is given a scene of its own, and is full of ambiguity. But what is really essential is the urgency of the film making, and the opening scene with its hauntingly erotic music, literally plunging you into the waves of desire and ultimate annihilation. Sex and death are intertwined in this film and both have an urgent need for a kind of nihilistic satisfaction. It is an astonishing film open to many interpretations and was a one off of its kind. The so-called ' Sun Tribe ' ( those dedicated to speed boats and sun and juvenile Japanese revolt ) was short lived, and ended as most things do, corseted into conservatism. Sharp as a razor this film cuts is way into film history like no other I have seen, and its savage sexuality almost rips the screen apart. The ending makes Hitchcock and other purveyors of shock look pale in comparison. The acting is brilliantly raw, and so is the sweep of the camera all too willing to plunge into revealing frenetic action, sexuality and violent despair. A great, great film and beg or borrow see it as soon as you can. There is nothing like it and ' Rebel Without A Cause ' is melodrama compared to its vitality and youthful hunger, and to grab life with both hands, even to the point of oblivion and self imposed pain.

Very tame juvenile delinquent melodrama. Either boiled down or very true to life, but they seem very tame indeed by U.S. standards. Interesting look at Japanese life, again perhaps watered down, with a memorable ending, but getting there you have some poor rear-screen projection, uneven acting and pacing and a kind of bad "tough teen" music score that thankfully comes and goes. The music is probably the most dated aspect.

Some nice use of closeups to suggest love scenes and nice open and close structure help make up for the defects. It's not overly long but feels that way at times. Does show the influence of U.S. presence in post war Japan, though the American actors what little they have to do are pretty lousy.

This film is about a bunch of young men who live the good life (none have jobs, but they have money) in post-war Japan. The film focuses on two brothers and their mutual affection for a young lady named Eri. I don't blame them for being infatuated with her, she is next to beautiful. First its the younger brother Haruji who is able to woo her. Then the older brother Natsuhisa goes for her, out of both desire and jealousy. Eri turns out to be married to an American who spends very little time with her, so she is able to be involved in these affairs. Although this may seem a bit tame now, it was a scandalous film in 1956. It ushered in a Japanese new wave, or it at least suggested one was imminent. The film becomes better with time, as you focus on the love triangle. The actors and Mie Kitahara, who plays Eri, are all convincing. The DVD has commentary from Donald Richie, who is an authority on Japanese film. Again, risqué for the time, tame now (but so is "Rebel Without A Cause" and thats a great film), it is definitely worth your time.

Natsuhisa and Haruji are brothers. Natsuhisa, the older brother, is a bit of a nihilist, devoting all his time to booze and women and hanging with his friends with similar pursuits. Haruji hangs around with his brother, but doesn't approve of his lifestyle. Haruji meets Eri and they date. Natsuhisa is awe struck that his brother has got such a stunning girl, and is determined to find out why. He finds out her secret, and blackmails her into starting a sexual relationship with him. A surprisingly bleak and raunchy film for 1950's Japan. The ending is quietly devastating.

The title "Crazed Fruit" probably has different connotations in Japanese...but in English, the title seems to suggest the viewer is in for a trashy entertainment. In fact, "Crazed Fruit" is a brilliant, thoughtful, and powerful film.

The film succeeds through its strong writing and strong performances. The director seems to have a clear vision for the film -- unusual, considering it was his debut feature.

What gives "Crazed Fruit" its depth and richness is the subtlety of the plot and performances. The film ends in tragedy, but this outcome has its origins in ordinary, minor human flaws that anyone could identify with. The three main characters' weaknesses combine in a particularly unfortunate way, to produce a spectacularly bad result. The younger brother is blameless and pure in his desire to know true love; the older brother is understandably overcome by the strength of his feelings of love and passion; the girl is blameness in her desire to experience an innocent and powerful form of love. Yet together, the three work to bring about disaster.

Highly recommended.

What starts as a young adults at the beach, coming of age story slowly devolves into a morality tale rooted in an overused love-triangle plot device. This time it involves two brothers vying for the same woman. What lifts this one above the rest are the technical elements.

The direction is solid. The lighting and cinematography are wonderful, especially the moonlit scenes. The cast does a great job, with the female lead giving a shining performance. The subtle ukulele-driven, Hawaiian-inspired soundtrack provides the perfect moodiness; and the costuming deserves a shout-out.

Of the "Sun Tribe" movies I've seen, this one feels the most Hollywood-ish. I realize that the infiltration of Western culture into post-war Japan was a major theme in Japanese cinema for a while, but this film feels like it actually exhibits more of stereotypically Hollywood style.

I anticipated the explosive ending; however, it still provided a fantastic jolt!

"Kurutta Kajitsu" (Crazed Fruit) 1956, is a landmark of Japanese cinema that has more to say about postwar Japan and mid fifties movies in general than all the other films of that decade put together. Made by a fledgling studio director, Kô Nakahira, age 29 at the time of shooting, this is one of those inspired quickly made first efforts (shot in seventeen days) that turn out to be a small masterpiece. In a streamlined running time of 86 minutes Nakahira and his incredibly well chosen band of young actors say everything that has to be said, snd more, with no holds barred. It's about a bunch of bored rich kids (The "Sun Tribe") who have motor boats and sailboats to amuse themselves with at the summer seashore near Kamakura. The dialogue amongst them is typical teenage putdown banter. Two brothers, the older a cynical fast talking know-it-all wise guy with an exceptional singing voice (Natsuhisa) and the innocent naive younger one (Haruji) both fall in love with the same elusively beautiful young woman (Eri) leading to a deadly case of sibling rivalry. Many scenes of water skiing set the pace and lingering shots on the faces of all three principles set the emotional tone throughout. Sex scenes while short and not particularly explicit are nevertheless hot for the time and still smolder today. One young lady sums a political discussion up by saying "We live in boring times. Let's eat". The film is packed to the seams with youthful energy but also a certain sociological and political savvy. Of the four principle actors, the two brothers, the older Yujiro Ishihara, was 21, and his kid brother Masahiko Tsugawa, in a most temarkable performance, was only 16. Mie Kitahara the catlike femme fatale loved by both was 23, and Masumi Okada (ice cool go-between Frank) was 21. This is practically a perfect film in the sense that hardly a frame could be excised or added without lessening the impact. Every shot makes its point unselfconsciously building to a smashing conclusion that leaves an unforgettable imprint. Mind boggling. Forget about Kurosawa and Ozu. If you only see one Japanese film and want to really get some penetrating insights into Japanese culture this is the one to see. PS. Tall gangling Yujiro Ishihara went on to become a major singing and film star on a level of popularity in Japan comparable to that of Frank Sinatra or Elvis Presley in the United States and married co-star Mie Kitahara in real life in a relationship that lasted until his death in 1987. Director Nakahira did nothing of note following this sensational debut.

Having seen and enjoyed The Departed, and having seen No Country for Old Men and found it overrated, and who knows how many other recent films on similar themes, I was utterly delighted to have seen a screening of Crazed Fruit at a museum a few weeks ago. In terms of movies about revenge, Crazed Fruit is much more eloquent than any number of contemporary blockbusters. It probably doesn't say much in favor of my character to admit it (! nope !), but Crazed Fruit is the only film I can think of to have evoked a desire to stand up and cheer.

Throughout the body of the film, I kept asking myself, "Okay, this is a little bit like a Japanese Rebel Without a Cause, which is great in itself, but where's the real craziness here (besides the fact that America had already influenced Japan by 1956 in ways that most American's were not aware of)?" The main characters might have had moral issues, but they were so darned *elegant* about it! Even though this (being spared from the usual stream of sanctimonious and in-immediate inner and narrative wrestling bouts of the conscience) was enough of a refreshing change from what I'd usually seen in the cinema, I still wanted to see something hardcore to justify the film's title, and I can say that the end of the film certainly did deliver on that score. No outrageous depictions of violence here, just a relentless and rather memorably nutty ending.

I don't usually dare to write my own reviews on IMDb.com, but I couldn't contain myself this time. I really enjoyed Crazed Fruit. It was aesthetically appealing, it portrayed its characters as being dissatisfied in completely understandable ways (i.e., as being sympathetic), and I'm just really impressed with the way the film ended.

Extra points for the weird musical score, which was a wild yet still somehow understated fusion of "La Dolce Vita"-type music and Hawiian-influenced ukulele and slide-guitar. A nice touch that added to rather than detracted from the story.

Of course, times have changed drastically since this film was made. Part of what I enjoyed was temporarily returning to an era when problems were at least traceable to something gone wrong. It's a romantic film for sure.

I really liked this movie. There were lots of nice shots of the ocean. I just saw L'Aventurra but liked this one better for its ocean shots. The main characters were very young (20-22, one younger) so I guess I sort of identified with where they were at. I didn't think it was tame at all, but it certainly is of its time. I wouldn't call it a look at Japanese life either, it was much more character based. I thought the larger surroundings were a minor part of the film. I also enjoyed the music, I think it's true to life how kids get into something. I totally didn't expect the ending, but actually as memorable as it was (especially the shot from the helicopter) I think I will remember the love scenes and the buildup to the first one more. I think they are more crucial to what makes this a good film at least.