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They Hid The Blood In A Vat Of Miso episode artwork

They Hid The Blood In A Vat Of Miso

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In Japan, if you are sentenced to death, you are not told when. Not the year. Not the month. Not the night before. The guards come in the morning, and it happens within hours, and your family finds out afterwards.

Iwao Hakamada woke up like that for forty-six years. He was innocent.

In 1966, four members of a family were stabbed to death in Shizuoka Prefecture and their house was set on fire. Hakamada — a former professional boxer working at the miso factory next door — was arrested and interrogated for twenty-three days, the legal maximum, with no right to a lawyer in the room. On day twenty he confessed. He retracted it immediately and never stopped retracting it for the next fifty-eight years.

At trial, prosecutors produced forty-five signed confession documents. The court ruled forty-four of them inadmissible — and convicted him anyway, on the one left over. One of the three judges believed he was innocent, was outvoted two to one, and was then required to write the death sentence himself. He resigned from the bench and said nothing for forty years.

Then, fourteen months after the murders, five items of bloodstained clothing surfaced in a vat of fermenting miso.

In September 2024, at eighty-eight years old, Iwao Hakamada was acquitted. The judge found that investigators had put the blood on the clothes and planted them.

SOURCES

  • ADPAN (Anti-Death Penalty Asia Network) — case record: the 23-day detention, interrogation hours, and the 45 confession documents

  • The Japan Times, 2008 — Judge Norimichi Kumamoto’s account of the deliberation and his dissent

  • The Japan Times, 2014 — “Epic miscarriage of justice”

  • CNN, September 2024 — acquittal coverage and Judge Kunii Koshi’s finding on fabricated evidence

  • Innocence Project — DNA testing on the miso-tank clothing, 2008 – 2012

  • NPR and CBC, September 2024 — acquittal reporting and Hideko Hakamada’s campaign

  • Banchō Sarayashiki — the kabuki play, in continuous performance since the eighteenth century; and Hokusai’s print of Okiku from his Hyaku Monogatari series

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