The Beast Shall Die 1959

Okada is introduced in a tense, quiet moment of routine that shatters when a gunman ambushes him and leaves him dead. The killer stuffs the detective’s body into a trunk, steals his car, and only later abandons it after driving away in another vehicle. The shocking crime sets the tone for a film that threads uneasy, sharper-than-it-looks behavior through every scene that follows.

In the halls of Kanto University, the story widens to a more intimate struggle. A fourth-year philosophy student racked by tuberculosis faces expulsion if he cannot scrape together the last of his tuition. He sits in lectures with Kunihiko Date, a 26-year-old who also translates for the university’s Professor Sugimura. Date’s work appears under Sugimura’s name, blurring the lines between author and editor as the professor’s career quietly soars. Parallel to this, a radio report ties the earlier murder to unnamed suspects and a faint trail of fingerprints, hinting at a web of clues that Date will soon weave himself into.

Taeko Kusumi enters Date’s orbit, a girlfriend who becomes a catalyst for his choices. The two share a tense, charged moment when she suggests that Date pursue foreign study by entering a Ridgeway Foundation essay contest—an opportunity that could fund the dream of studying at Harvard while also easing his financial pressures. The possibility of international education adds another layer to Date’s already complicated life, a life that will soon collide with a murder investigation that’s growing more personal by the day.

Meanwhile, Detective Masugi is closing in on the killer. His investigation is complicated by his fiancée’s occupation at a hostess bar, Lolita, where the detective’s attention keeps flicking between the case and the intimate, fragile strands of his own relationship. The social world around Nameless Bar—where Date drifts in, buys flowers with a blunt show of wealth, and draws the attention of others—serves as a pulsing backdrop to the mounting tension. The film uses these social textures to probe how appearances mask motives and how quickly a calm surface can crack.

Date’s boldness breaks into high gear when he impersonates a police officer to seize a man at a casino: a Chinese casino owner named Charlie Chen exits with a bag of money, and Date drives him away from prying eyes, forcing silence with threat and the threat of violence. He disposes of the fake license plate and returns to his apartment, where the day’s deception lands him back in a life where his scholarship hopes hinge on a chance encounter with the Ridgeway contest. The investigation thickens as fingerprints at the original crime scene point toward the vehicle’s owner, not the killer—an important twist that deepens the mystery without clarifying it.

As the web tightens, Masugi grows more convinced that Date is the man behind the killings. Date himself begins to circle back to Sugimura, who is buoyed by Date’s rising profile—his translations selling briskly and his essay titled “The Brutality of Modern Human Beings” drawing attention at academic conferences. Sugimura reveals he has sent the Ridgeway Foundation entry forward, and the prospect of Harvard looms larger with every passing moment.

The plan to pull off a dramatic double-cross comes into focus when Date teams up with a student he met earlier, with the intention of robbing the accounts office. The Ridgeway contest remains Date’s stated goal, but the real prize is the money that could finance his escape. That night, Date ascends to a research lab and plants dynamite, while the student enters the accounts office in disguise. Date then slips into the room during the ensuing chaos, and a security guard is killed as the plan accelerates toward a brutal, carefully choreographed climax. The student kills everyone in the room, and together they stash the evidence. Date sedates the student with a drugged drink and listens to the police radio, learning that the authorities are following the wrong leads. The car carrying the two men is stopped at a checkpoint, but Date’s cunning allows them to slip away. In a final reversal, Date kills the student and dumps the car into the sea, erasing the last of their trail.

Masugi, convinced that Date is the killer, convinces his superiors to issue an arrest warrant. The net tightens as the detective and his colleagues close in on Date at his home and beyond. Date, meanwhile, holds out hope that the Ridgeway prize will save him, tucking away the implication that Harvard might be more than a dream—it could be his salvation from a life built on deception.

The chase reaches the airport, where Masugi watches Date from a distance, hoping to catch him smuggling cash or evidence. Date boards a plane, and it seems the game is over—that Date has outmaneuvered the detectives and won. Yet the story’s emotional center remains with Taeko Kusumi, who has carried news of Date’s situation and the money he has earned. She appears at the airport with a bag that could change everything, but she hesitates, choosing to board a bus rather than the departing plane as the authorities scan the area. The plane lifts into the sky, and the film ends on a note of ambiguous victory—the man who sought escape has found it, but at what cost to those around him?

The film’s world is a grayscale study in ambition, deception, and the thin line between scholarly aspiration and survival. It’s a story propelled by sharp social observation, the quiet weight of a woman’s choice, and the eerie certainty that some crimes begin as a search for a better life and end up as a matter of fate. The final image lingers on the horizon, the aircraft’s silhouette tracing a path toward a future that may never fully arrive for those left behind.