Why so much hype?

One of my all time favorites.

A Disappointing Continuation

There's a more than satisfactory amount of boom-boom in the movie's trim running 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.

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.

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

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!