Marvelously shrewd and deliciously fun, a greatly underappreciated gem

Toshirô Mifune in Samurai Rebellion (1967)

I've got a favor to ask. It's embarrassing. But a coffin is waiting for me, so I can say this plainly. I don't have any legally recognized children. But I do have children. To top it off, I've got three of them. Some may be dead. But there's no way all three are dead. So I want you to find my children. I don't mean to legally acknowledge them and their heirship right away. Some may have grown up to be scoundrels. But if any of them are suitable, I'd like to add them as heirs.

Seiji Miyaguchi in The Inheritance (1962)

Keiko Kishi and Seiji Miyaguchi in The Inheritance (1962)

Keiko Kishi, Seiji Miyaguchi, and Osamu Takizawa in The Inheritance (1962)

Minoru Chiaki, Keiko Kishi, Seiji Miyaguchi, Kinzô Shin, Osamu Takizawa, and Misako Watanabe in The Inheritance (1962)

Misako Watanabe in The Inheritance (1962)

Keiko Kishi and Sô Yamamura in The Inheritance (1962)

Keiko Kishi

Tatsuya Nakadai

Sô Yamamura

Kôichi Inagaki

Norio Nanjo

A dying businessman intends to will two hundred million yen to his three illegitimate children, but his associates scheme to take advantage of the situation.

Masaki Kobayashi

Karami-ai

A pretty good Kobayashi film

Worked through all of Kobayashi&apos;s higher profile movies during 2020, but it&apos;ll be nice if his less well-known stuff all turns out to be as good as this.

The story isn&apos;t quite as engaging as the narratives displayed in The Human Condition trilogy, Harakiri, or Kwaidan, but it&apos;s still interesting for most of its runtime.

I did like the noir feel, especially the jazzy soundtrack and the voiceover, and it&apos;s nice to see a female protagonist (who isn&apos;t your typical femme fatale) in a noirish movie like this.

It&apos;s probably a more minor work in his overall filmography, but yeah, still pretty good.

Worked through all of Kobayashi's higher profile movies during 2020, but it'll be nice if his less well-known stuff all turns out to be as good as this.

The story isn't quite as engaging as the narratives displayed in The Human Condition trilogy, Harakiri, or Kwaidan, but it's still interesting for most of its runtime.

I did like the noir feel, especially the jazzy soundtrack and the voiceover, and it's nice to see a female protagonist (who isn't your typical femme fatale) in a noirish movie like this.

It's probably a more minor work in his overall filmography, but yeah, still pretty good.

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