Three hours can feel like a dare, but this one makes the case for its length. What starts as “man on the run” turns into something heavier: a story about how one incident can knock a life off its tracks, and how hard it is to climb back when the system has already decided what you are. It’s got that postwar Japanese-epic weight — Kurosawa scale, Mizoguchi sadness — but with an even colder sense of fate.
Mikuni Rentarô is fantastic as Takichi Inugai / Kyôichirô Tarumi: stoic, cornered, and gradually haunted by his own survival. The detective’s ten-year pursuit gives the film its moral backbone — part duty, part obsession — and Hidari Sachiko’s Yae brings a bruised tenderness the film never turns into sentimentality.
The atmosphere does a lot of work: the typhoon escape (with real storm footage), the layered, dreamlike transitions, and that Gothic “mountain that makes dead people talk” hanging over everything like a thought you can’t shake. It slows down at points, but the whole point is the weight of time — and by the end, it lands.