This film begins with some investigators examining the body of a woman who has been fatally stabbed and is lying on a wet floor. The scene then switches to a self-centered young man named "Yohei" (Shin'ichi Tsutsumi) who has fallen in love with an attractive woman by the name of "Kogiku" (Miwako Fujitani) and because of his narcissistic nature has created a scandal by having sexual relations with her. This has caused a great deal of consternation with both his natural family and the guardians who have raised him since he was a child. It also doesn't help matters that Kogiku comes from a relatively rich family in that particular district of Osaka as well. To make matters even worse, the woman who raised him named "Kichi" (Kanako Higuchi) has apparently also fallen in love with him and this eventually results in her having a nasty spat with Kogiku which concludes with Kichi seducing Yohei. Now rather than reveal any more I will just say that this was a decent Japanese drama which definitely benefits from its cultural aspects. On that note, however, I must admit that it seemed rather strange that Yohei-who was not from a rich and influential family--was able to get away with so much in spite of the rather strict social customs of that particular time and place. Even so, this was an enjoyable film for the most part and I have rated it accordingly. Slightly above average.

THE OIL-HELL MURDER / WOMAN MURDERED IN OIL'S HELL (Lit.) (ONNA GOROSHI ABURA NO JIGOKU). Viewed on Streaming. Restoration/preservation = nine (9) stars; costume design = eight (8) stars; cinematography = seven (7) stars; subtitles/translations = six (6) stars; score = three (3) stars; sound-stage "exterior" set design = two (2) stars. Director Hideo Gosha takes his time (REALLY takes his time) examining the fallout in adulthood from a male infant being imprinted on his wet nurse and Vice Versa in 18th-century Osaka. Both are now back in their home village (where the principal industry seems to be the lucrative production of seed oil). The male has become a chronic womanizer endlessly searching for a nanny stand-in lover and the wet nurse has become a chronic, jealous complainer about the male's sexual dalliances (while entering into a loveless marriage and starting a family). It takes zero imagination to see where all this is going (not good, of course),since the script thoughtfully telegraphs ahead every plot development for audiences who may be slow on the uptake or (more likely) have dozed off during this way-too-long and snail-paced melodrama. Otherwise an excruciating boor, the movie is held together with a slender thread provided by the acting skills and stunningly attractiveness of Kanako Higuchi who portrays the nanny. She delivers a knock-out performance in a plumb role. Her supporting cast turns in mostly fine character studies, although actresses seem a bit intimidated by Higuchi in shared scenes. Cinematography (narrow screen, color) is okay. Scene lighting is fine with Higuchi's face lighting being especially good. Subtitles are a bit rushed now and then. Signs/text are usually translated. Sound-stage "exteriors" are pretty phony looking. Score (mostly Koto based) is undistinguished. Unless you are a Kanako Higuchi fan or trying to recover from sleep deprivation, forget this one. WILLIAM FLANIGAN, PhD.