Masako-2

The Shinsengumi ("New Selected Group") was a special elite squad formed by the Edo shogunate government to eliminate the revolutionaries who demanded the regime change. It is well known and one of the most popular theme covered by Japanese historic novels and movies that depict the county facing mounting pressure to open for trade with foreign (western) counties. Much lesser known is the homosexuality, though.

From the title "Gohatto" (trans. Taboo), people (especially in Christianity) may easily think that the forbidden is the homosexuality, but not exactly. The fact is "Shudo" (homosexuality) among Samurais are rather popular (not welcomed by many but not prohibited) in that era before the Christianity is formally allowed. And samurais in lower rank cannot refuse when seduced by those in higher ranks.

As a Japanese I know the fate of Shinsengumi, banded under fanatic and xenophobic belief (some form of insanity). That is why they needed very strict rules (Gohatto). And the balance started to deteriorate when they admit a too- beautiful young boy. A hidden theme of this film may be that one can only draw blurred lines between trust, worship, affection and lust.

Ryuhei Matsuda, in his film debut, looks like Kabuki actor portrayed by Japanese Ukiyo-e masters.

This underrated film was released just before Christmas in Tokyo. As a long time fun of the director, I enjoyed very much this beautiful film. It appears to be an ordinary boy-meets-girl story with somewhat quirky atmosphere, but inside I found the film is filled with homage to the Nouvellevague cinema.

Among them, I remember the film "Cleo de 5 a 7" by Agnes Varda (1962), which includes discussions of mortality, despair and the meaning of life. I also felt the airs of Jean-Luc Godard and François Truffaut. If you love the French films in 60s, I believe you will enjoy and appreciate it more.

The line by Hiroshi (the Ghost) summarizes the theme of this film.

"We have so little time to say any of the things we mean. We have so little time for any of it."

The movie was well above my expectation and definitely worth a wait. Tony Leung plays the same man with "In the Mood for Love" but has a different character. The movie is also vaguely related to "Days of Being Wild" in 1990, co-starred by Leslie Cheung and Maggie Cheng. All three films are about the mixture of hustle-bustle and weariness of Hong Kong in 1960s.

Tony's performance in this film was again brilliant. Faye Wong performed in WKW film for the first time in 10 years (since "Chung King Express" in 1994, also co-starred by Tony Leung) and made this film one of a kind. Mysterious gambler Gong Li was also attractive. Zhang Ziyi gave me a positive surprise. The film's technical level (costumes, music, photography etc.) is also very high. Someone suggested 2004 Cannes Palm d'Or should have gone to this film instead of "Fahrenheit 9/11" and now I can totally agree.

The number "2046" is the metaphor of Hong Kong's destiny, which implies the last year of status-quo for 50 years guaranteed by Chinese government.