Black Rain

Two American Detectives arrest a member of The Yakuza, and arrange to transport him back to Tokyo. When they arrive in Tokyo, they are outsmarted, and the criminal is sprung, they stay in Japan to bring him to justice.

When you read exactly what is in the mix, Ridley Scott, Michael Douglas, Andy Garcia, Oscar nominations, even the great Hans Zimmer providing the music, you'd think you were in for a classic, and I'd argue that's exactly what Black Rain is.

Ridley Scott is known for delivering hard hitting, bleak epics, and Black Rain is no exception, don't expect many lighter moments, they are few and far between, do expect action, grit, pace and a great story.

The clash of cultures makes it a very interesting watch, we have the brash, gung ho Americans up against the cultured and methodical Japanese.

The cast do a first rate job, I may be somewhat biased, but I'm a huge fan of Michael Douglas, and he's terrific here.

Lots of 1980's glamour, Kate Capshaw looks incredible in almost every scene, Garcia cuts a pretty dashing figure also.

It's a film that has aged pretty well.

9/10.

Americans - quite arrogant are they not? Well not all of course, but Michael Douglas or rather the character he's portraying is quite the prime example of an arrogant specimen. Some may argue that he has the qualities to be like that, but showing off some respect wouldn't hurt him or his colleagues.

Having said that, the culture clash is quite apparent. But also how both sides come together. The movie may be a bit too long for some, but saying Ridley Scott is not technically sound or doesn't know what he's doing, would be a mistake. And having a cast that delivers like that is quite something. Andy Garcia having the time of his life, playing the "sane" one. The karaoke sequence is quite mesmerizing ... which is important for other inevitable character building stuff.

Tension is holding from start to finish too. Which isn't an easy feet ... and the end sequence is quite nicely made. Predictable, but very well done indeed

Black Rain is directed by Ridley Scott and written by Craig Bolotin and Warren Lewis. It stars Michael Douglas, Andy Garcia, Ken Takakura, Kate Capshaw, Yusaku Matsuda and Tomisaburo Wakayama. Music is by Hans Zimmer and cinematography by Jan de Bont.

After New York cops Nick Conklin (Douglas) and Charlie Vincent (Garcia) arrest a sword wielding psychopath named Sato Koji (Matsuda), they are tasked with escorting him back to Osaka in Japan. From here they are plunged into a war that is brewing in the Japanese underworld.

You see there's a war going on here and they don't take no prisoners.

Welcome to Blade Runner's younger brother, Black Rain, a Ridley Scott film I feel has never received the credit it deserves. Viewing from the outside it looked like one of those 1980s cop movies, one where the main cop is washed up and perched on the edge of oblivion, his partner his sanity and voice of reason. However, Scott (brought in late to direct when Paul Verhoeven bailed) wasn't interested in the normalities of the cop drama, he saw the potential for cross continent culture clash and the chance to bring his visual skills to the fore.

Yep, it's the big neon glitter of Osaka and the grime and dime of New York that is the big draw here, but characterisations are still rich for the drama, with Scott taking plenty of time to set up the lead protagonist. We know Conklin's troubles, we know how tight his friendship is with Charlie, and by the time things go grim and dour in Osaka we understand just why Conklin plunges head first into a do or die situation.

Visually Scott infuses the picture with cramped locales, steamy streets, industrial wastelands and blood red suns, while his lead character is an unshaven trench coat wearer who still manages to look devilishly cool. It's perhaps the drawing of Osaka that is the most impressive, for it's an alien creation to us as much as it obviously is to Conklin, the ignorance gap between America and Japan still wide apart in 1989.

Complaints? At just over two hours in running time the film does have periods of flatness, where some better editing wouldn't have gone amiss; though Scott's original cut was considerably longer, begging the question on if more could have been done to enhance the seething culture clash between cops Conklin and Matsumoto (Takakura)?

Another problem is that Capshaw's character is under written, a crime when it's the sole female part of note in a two hour movie. Did more of the character hit the cutting room floor? Likely, because now it's a token eye candy offering, which is a shame since what little we do get hints at a savvy performance from Capshaw.

Ridley Scott lifts Black Rain from merely being a fish out of water thriller to something more layered. True to say there is more style than substance (what style though), but there is still very much interesting juxtapositioning of countries and human interactions of credible worth as well. 8/10

I was searching a review from a Japanese reviewer and found one, very tough with the film. It made me react here.

First, I consider myself as neutral as nor American nor Japanese even if I know those two fascinating countries inhabitants a little. And I did not feel the same the Japanese reviewer did. In my sense the film does not mock Japan. It does not show Japan as 'inferior' but as different. And this is all the interest of this film whose purpose in my opinion is to show the opposite mentalities and culture. Both sides are presented. The bad and the good ones.

The Bad : Japoneses are showed as ridiculous with red tape and bureaucracy matters, with shy behaviors, weird violence (for occidental people). But Americans too. Those are presented as brutal stupid beasts, for example when Charlie Vincent run after a motorbike without understanding the trap is going into or when Nick Conklin does not manage to restrain himself from knocking everywhere. Or when Nick signs a stupid sheet of paper without distrust. The two Americans are also presented as arrogant as they don't even think that foreigners could speak English .. because they don't imagine it is even possible. Even the American/Japanese prostitute rejects their arrogance. Also American police is presented as corrupted and messy ... So no one wins here I guess.

The good : Japaneses are also presented as good. Cops are straight but cooperative and honor respectful, mainly instructed, efficient. Even if they lack of adaptiveness and are bad inspired to reject the American cops help. The mafia is well presented too. Franckly, they really are scary guys but gain respect with their honor code. Sato is impressive.

Here I agree with the Japanese reviewer : The Americans are glorified (music helps :). Nick manages on his own (yet with the help of Mas) to solve a difficult case in a country he obviously even doesn't know. This is clearly the weakness of the film.

Yet what I really appreciated was the oppositions between Mas and Nick. Wiseness and honor of Mas, for example when he feels insulted by Nicks thief behavior or when he learns from Nick. Humanity and pugnacity of Nick.

I also liked mafia's leader speech with Nick. Here we definitively can't say the film only runs for America, obviously.

One regret. We definitively see too little of Japan. Even if the film does much in presenting a country that we mainly bad know in occident, it could have done more. That said, I think this was not the purpose of the director who just wanted to focus on mindsets.

Another regret : the ridiculous sounds of the motorbikes especially in the beginning of the film and in the last scene.

The actors are all perfect. The soundtrack is really cool. Contrarily to the Japanese reviewer, I appreciated the way the director represents Japan, with subtlety, as Japan is all about. And USA with strength, as USA are all about too, sometimes too much :). If the oppositions between the two countries are exaggerated, it is in the purpose of showing them better and make understand, I guess. This is a 'must-be-watched' film for me. One of the best of Ridley Scott.

Nick Conklin (Douglas) and Charlie Vincent (Garcia) are US cops who get involved in a Yakuza killing and capture a dangerous murderer Sato (Yasuka Matsuda). When delivering him to authorities in Japan, Sato escapes and Conklin and Vincent are forced to team up with Masahiro Matsumoto (Ken Takakura) in order to hunt him down. The clash in cultures creates tension as the investigation continues.

On the surface this is a mismatched partner movie that thinks it's more than that because it addresses issues of honour between culture. It is more than a buddy cop movie and manages to be a tense thriller and look at the clash of East & West. I'm not a Douglas fan but he does play the darker characters quite well and is pretty good here. Garcia is good but is really only a plot device when you look at his character. Takakura is strong in his role as the cop trying to hold to the ways of honour of his bosses but torn by the action methods of the West and Douglas. It is him who has to carry much of the moral weight of the film. Matsuda carries off Sato well and makes him more that a gangster character.

The real star of this is Scott's direction. He makes his city-scapes a present day version of Blade Runner - Japan is darkly dangerous and lit in neon. The direction is very stylish but can sometimes take away from the quality of the product and make it seem all style and no substance. Hans Zimmer score is as haunting as ever and fits the mood perfectly.

The story is perhaps a tad hackneyed and is not anything that different. Some of the East/West clash stuff doesn't work but it is still interesting to see the characters change to take elements of the other's cultures. The style and action carries the film well - any insight into culture differences is a nice bonus, overall an unoriginal idea is turned into a good film by good actors and a good director.