Jigoku (1960)

Directed by Nobuo Nakagawa · Cinematography by Mamoru Morita

101 min55 frames

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Stills, screencaps & shots from Jigoku

16 of 55 frames — the full set is searchable by lighting, lens, shot size, color and mood with a free account.

Jigoku (1960) movie still: wide — A dark, empty plot of land features a circular arrangement of prone figures. The people lie face-down in a ring… — Jigoku (1960) — © Shintoho Company

Jigoku (1960) movie still: closeup — A framed black-and-white portrait of a woman sits surrounded by a dense bouquet of lilies. A black ribbon is… — Jigoku (1960) — © Shintoho Company

Jigoku — official trailer

What is Jigoku about?

A group of sinners involved in interconnected tales of murder, revenge, deceit and adultery all meet at the Gates of Hell.

Who stars in Jigoku?

Who made Jigoku?

What does the cinematography of Jigoku look like?

Across 54 sampled frames, Jigoku builds its coverage from medium shots (39% of the sample), with wide compositions (37%) carrying much of the rest. Cinematographer Mamoru Morita keeps 61% of it in soft, low-key light. 74% of the frames play at night or in the failing light of dusk. Anamorphic glass shapes the frame. Focus stays shallow in 56% of the frames, isolating subjects from their surroundings.

What is the color palette of Jigoku?

The dominant colors across the sampled frames of Jigoku (1960) are #090908, #302e2c, #525149, #271615, #493432, #737771 — measured from the per-frame color data FrameThrower extracts for every film.

#090908
#302e2c
#525149
#271615
#493432
#737771

See the full Jigoku colour palette — every hex with its share, plus warmth, saturation and luminance.

A reference database for filmmakers

FrameThrower is a fully machine-searchable film database and visual reference library — all 55 frames of Jigoku (1960), and 5,000+ films besides, indexed frame by frame and readable by AI. Search it in plain language, from a reference image, or by colour; call it from an API, an MCP server or an SDK. It's the reference layer for making the next movie.

Techniques in this film

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