Le soleil

Sokurov's haunting recreation of how Emperor Hirohito spent the last hours before the Japanese surrender, this is a miraculous work, and it provided the most powerful aesthetic and emotional experience of the 2005 New York Film Festival, whose official selections were not lacking in depth and fine film-making.

"The Sun" depicts a man who knows very well what is going on but lives in a cocoon, in a state of detachment and ineffectuality that becomes strangely heartrending. Issey Ogata's performance as the Emperor easily competes for hypnotic intensity with Bruno Ganz's Hitler in the German film "Downfall" -- but with a very different sort of bunker and a very different kind of man: a silent, immaculate country house with a few faithful servants in attendance; a small, frail but upright and dignified personage who can easily explain the causes of the Japanese defeat to his general staff but has never learned to dress himself or open a door. Even on this day he is more comfortable browsing through photos of his family and American movie stars, dictating notes on marine biology, and writing poetry. Despite the disgrace, he is selflessly happy that peace has come. He inks a brush to write a statement to his absent son, but instead drafts a few verses about the weather.

Later he is taken to see Eisenhower, and then brought back again to dine with the general. He enjoys the wine and the meat and has his first taste of a Havana cigar. The Americans conclude that the Emperor is like a child. "What's it like being a living god?" Ike asks. And speaking, to the dismay of the Japanese interpreter, in perfect English, Hirohito says, "What can I tell you? You know, it is not easy being Emperor." These are just a few details in a film rich in telling ones. Simply enumerating them can't explain this film's slow, cumulative emotional wallop -- or the lovely, fantastic, dreamlike landscape images toward the end. This film about one of modern history's most humiliating defeats is a stunning triumph.

"The Sun" demonstrates unmistakably that Andrei Sokurov is one of the world's great filmmakers.

Director Sokourov's portrayal of the Japanese Emperor during the time of his capitulation to America is spellbinding and possibly unique. Japanese civilization and especially its culture from warriors to sex and love are totally different to western culture. Issei HiroHito who plays the role of the Emperor is majestic in human manner and mannerisms, spanning glimpses of ancient customs of etiquette, the significance of poetry and the new world of science (HiroHito's passion being marine biology). Most significant is his surprising awareness of the fateful decisions he has to take at the end of WW2 in order to bring Japan into the next era. Long lasting peace is his fervent vision. One is surprised to learn that he hardly participatedin the making of the military decisions: unaware of the attack on Pearl Harbour, for example. Luckily for Japan, MacArthur knew something about Japan and its rigid etiquette and sensitive non military culture, having been there before the war. Lukily for Japan, MacArthur decided on getting to know his opponent in person to person meetings with the Emperor before pronouncing judgment on whether the Emperor was guilty of being leader of the war or just an innocent person kept away from the important decisions. The two meetings between MacArthur and HiroHito when HirorHito spoke English (he said he also spoke other languages), were non-political and dealt mostly with personal matters of family and leisure interests. These discussions, subtly developed in the film, convinced MacArthur that HiroHito was innocent and that HiroHito could be a unifying force for a new Japan. (This positive attitude by America through MacArthur can be contrasted by the exact opposite of the Versaille Peace Treaty at the end of WW1 vindictively pushed through by the French and which proved to be, as Woodrow Wilson feared, a cause for further troubles in Europe, finally WW2.) What makes the film outstanding is Issei Ogata's sensitive and convincing portrayal of the Emperor concerned with human interests, who is considered by the Japanese as a God. Secondly, the decorum of the Japanese, so rigid to exclude all compromise. Luckily for the Japanese HiroHito found a way to compromise. Also the film's special color range suggested more undertones than either a documentary or a book. Essential to see to understand.

Another part of Sokurov's "totalitarian" sequence, this is devoted to Japanese WW II-time Emperor Hirohito and his farewell to the old good times of imperial Japan and painful entry into new after-war realities of defeated Japan rising to "democracy" and subject to America's "civilizing".

Compared to the dictators previously depicted by Sokurov (Hitler and Lenin), Hirohito appears the least dictatorial: he sometimes is felt like a "hostage" of the desire to defend the country's own pass of development against the "corroding" influx of Western "plebeian" culture, the desire which led Japan into the fascist "axis" and determined its defeat when the old traditions of relying on the soldiers' spirit and honour and not technical power, and despising non-Japanese as barbarians did not justify themselves.

The film is a hard viewing even for art-house fans because of obscure (probably psychologically justified) coloring and virtually no exterior action. All the action is psychological depicting the way the Emperor comes to reality and to realizing (and publicly declaring) that he is a man, not God, and taking the disgrace of defeat on himself to save his country.

Overall, 7/10.

I like Ogata in most all he does. But I think his casting here is a mistake. He is excellent at pulling out the one or two things of a type to set up a humorous caricature. He is an excellent comedian. I think, though, that as an impressionist rather than an actor, he played his impersonation a little too broadly. (It may be because Ogata does a lot of stage work, and had trouble toning down for the camera.) Having personally met the Emperor Showa in 1985, I can say with some confidence that though the twitching lips are an attribute, it was not as pronounced as Ogata plays it, less conscious, and more a condition of advanced age. (Hence overdone for playing someone in his 40's.)

Another point of contention I have is with the script. There are quite a few moments when Ogata orders his servants to do something; but with the subservient plea "--kudasai". In the first half of the 20th century, the Japanese language was still exceedingly rank conscious. Even a commoner would use a condescending verb form for a request to a subordinate, whether the subordinate was a wife, a servant or an employee. It is even more strange to imagine the fawning servants enduring a request spoken by the Emperor from a linguistic position of submission. Courtly language is quite different from colloquial Japanese, and one instance we have of this is from his first radio transmission in which the Emperor used the personal pronoun 'Chin'.

I've waited 24 hours before reviewing The Sun in the hope that a day to reflect might produce some kind of insight into what I saw - unfortunately, that hasn't happened, so you're stuck with the same thoughts that I had yesterday.

If you're looking for some enlightenment into what goes through the mind of a god soon to be demoted to a mere mortal in the face of a crushing national defeat, you won't find much to help you out in The Sun. Unless you're one of those people who believes that those thoughts would have something to do with crabs.

So, what do you get in return for a ticket? The film itself is very dark - and by that I mean that there's very little light. Shot almost exclusively indoors with very little additional lighting the result is an effect that would be interesting in a single photograph, but becomes tiresome over the course of 110 minutes. Yes, it builds atmosphere, but it just became irritating to me.

Issei Ogata as Hirohito is very good, but his inability to keep his mouth closed and immobile when he's not speaking seems to be an embellishment too far (unless the real Hirohito actually did this). Most of the Japanese actors are excellent, in fact.

Robert Dawson as MacArthur is terrible - calling him wooden would be to slander actual wood.

The soundtrack is quite bizarre but, for the most part, works well to create a background tension which the script can't quite manage. If you've ever wondered what a segment of Wagner's Ring Cycle would sound like juxtaposed against the beat of a radio's heterodyne, this could be your film. Sometimes the only sound is the ticking of the clock - which is probably intentional again but ....

I realise that I'm not building a very good case for going to see this film, but the truth of the matter is that, as a whole, I found that I couldn't help myself from watching despite its flaws.

Watching this film is an interesting experience, but it will probably only appeal to you if you enjoy something that's quite challenging to sit through and you can forgive a script that ignores what could be interesting directions in favour of exploring the mundane.