Pitfall

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 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.

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.

"Exactly as planned" is a good description of this movie itself. It has a sense of precision and meticulousnes that compels the viewer into a grim determinism. Like a less grating Camus with ghosts set to avant-garde jazz played on traditional Japanese instruments.

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.

Probably one of the most biting and brutal looks into murder and betrayal I've seen out of Japanese New Wave, and that's saying something. Consistently tense, entertaining, surreal, and beautiful.

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.

an interesting and unusual mystery film. it's pretty interesting in its subtext, in suggesting that the working class is being constantly let down by its appointed representatives, who are played like a fiddle and pitted against one anther by capitalist interests. the boy, and the rest of the world, simply observe, seeing but not understanding, continuing to barely sustain themselves through endless consumption. even more striking was the phenomenal score.

Well politically stated, an exploited spirit becomes the simple bystander in limbo that must continue holding onto its unresolved life. Some moments captured are beautifully sinister, taking into account a haunting score that's quite moody to begin with. Dreamy, and finds ways to consume the viewer throughout.

A great film, despite some atrociously sexist moments.

Truly bizarre and surreal effort (at least the narrative is relatively easy to follow) – very much a film of self-aware technique and construction so there’s an unavoidable coldness at its centre - almost plays as THE SIXTH SENSE in reverse (with the “twist” front loaded). Works best as Igawa navigates the unearthly village and the subsequent complications of the murder-mystery investigation; political and social commentary feels too obvious and blunt in the otherwise ethereal mood/atmosphere.

A really bizarre art house mystery.

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.

Interesting elements but not wholly successful.

The plight of the worker. Amazing cinematography. One terrible scene that's wholly unnecessary.

A bit confusing as this kicks off, because it doesn't seem to stick with any particular genre: is it a ghost story? a political commentary? a murder mystery? The story (even with the otherworldly parts) is pretty basic, but trying to make sense of it all takes more than a single watch. You can tell Teshigahara was influenced by the surrealists here and in his later films.

Some neat images still remain in my mind. SUPER!!

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 world of bystanders. A miner, after selfishly deserting the army, selfishly rips of a farmer, selfishly leaves for another job which in turn he selfishly leaves for an even better job. This leads to the woman selfishly lying for money, the union leaders fighting and in turn the whole society to suffer the same fate. The twins, unlike the commenter argues, are simply part of a deterministic vision.

10.18 Çiftlik

The ghosts cast shadows. Oh, dear Lord!

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.

I found the screenplay of the first half very odd, desultory, but it then starts to flow in a smoother way. We already feel the elements of Teshigahara's cinema that will make him such a successful director later. The social commentary is brilliant.