Perhaps cinema's frankest exploration of theunregenerate criminal mind, Vengeance Is Mine is based on the true story of Iwao Enokizo, the so-calledKing of Criminals who raped and murdered his way through Japan until caught by police. His story became abest selling nonfiction novel, upon which Imamura based this film of psychological complexity, graphicviolence and grisly humor. In tumbling between past and present, the film shows some of the roots ofEnokizo's rage; Imamura, as always, immerses his protagonist in a fully realized stream of humanity anddaily life. (Enokizo was a man who could only kill people after having come to know them.) Still, Enokizoremains the center of a mystery play in which his wife, mistress, father, and victims all attempt, and fail,to fathom him. Three urges of the filmmaker vie as well-the anthropological, the poetic and themelodramatic-so that despite his distancing mechanisms, the viewer should be warned that Imamura does tous what his protagonist does to his victims: seduces, then assaults.