Apart from the incredible cinematography and experimental score, I also detected a strange strand of comedy going through it. Seriously, everything is based on some misunderstanding and the ghosts do little but wearily comment on it.

Very good film, took me by surprise when I first saw it. There's a lot going on here, but never really feels like it.

A film about industrial power balance, ghosts and mortality? It absolutely works. Some fantastic photography too. The shot of feet walking across the loading ramp was amazing.

Notably less technically accomplished than the two Teshigahara films that follow it, Pitfall has an even more difficult time transcending the thinly allegorical tone that is also true of Woman in the Dunes and Face of Another. As with this, those films often feel like extended Twilight Zone episodes, but here mostly lack the sensuous imagery of Woman in particular. Traces of Teshigara's later style are occasionally present, but mostly do little to distract from the lack of depth.

Not for me, personally, fully satisfying, but very interesting. Partly due to some nifty cinematography, but especially due to Takemitsu's experimental score with random percussion and strings notes, sometimes almost cacophonous, sometimes deeply confusing, but at the same time undeniably haunting. They are - as -BigEvil- notes - as much sound effects as they are music.

The social commentary, I can take it or leave it; otherwise it's a very compelling and moody film with some really great photography. The plot is extremely enigmatic (would've been even more so without the union tie-in, but whatever) and gives the movie an unsettling tension that keeps your attention the whole way. Great score, too.

A weird mix of ghost story, murder mystery, conspiracy thriller and social commentary. The disjointed nature of the film is sometimes distracting; I get the feeling that the social commentary was initially the point of the story, but that it was what least interested Teshigahara. But it's a very unusual and intriguing work. Not the allegorical masterpiece that Woman in the Dunes is, but worth seeing, especially for the cinematography and odd stuff happening around the fringes of the narrative.

A very interesting, but odd film. It's a bit hard to get into as It starts slowly with a look at a couple of poor miners and the camera seems to wander as if it wanted to film a different movie. Still, the camerawork and the odd score grew on me, and as the plot progressed it became a more and more captivating experience. By the end it becomes a strange mix of social commentary, mystery and drama that leaves you wondering what exactly you've just watched.

An extremely enigmatic and haunting film. I can't rave enough about Takemitsu's experimental score. At times it seems like he's hitting random notes that resemble something more akin to sound effects than music, and it's the driving force of the movie's atmosphere. The plot is just as bizarre. None of the characters truly know what's going on, and though we're shown the events in detail, neither does the viewer. Some is unresolved, but I'm not sure clarity and resolution were Teshigahara's goals

I got lost once on the outskirts of Tokyo in a rural district. In that macabre stillness, I was at once completely alone, and feeling like something was watching me; in a limbo state between modernity and an unknown, savage nature. This film IS that feeling, through its use of claustrophobic cinematography, opaque morality and oblique characterization. And like getting lost in a foreign land, Pitfall profoundly disturbed me in all the best ways.

A great film, despite some atrociously sexist moments.