Operetta tanuki goten

Maverick director Seijun Suzuki finally was able to film his dream project, "Princess Raccoon" and in a way it's lucky he didn't try this in the 1960's. Special effects and computer graphics certain made this sort of production easier to achieve than the old film matte technology would have.

Some familiarity with Japanese history and theatrical traditions will help with the enjoyment of this film. Much as familiarity with Shakespeare's "The Tempest" would help with Peter Greenaway's dense "Prospero's Books". These two films actually have a bit in common although, "Princess Raccoon" is much more colorful and easier to watch for someone without the background to fully appreciate it.

While the art design, acting and direction are fine for most of the film, it seems to this viewer that the energy runs out in the last third of the film. Most of the interesting sets have been already been introduced and the camera seems to step back for more of a filmed stage play experience.

This is certainly a unique film experience and I recommend it to anyone who is interested in alternate forms of film performance. It's not really meant for children although nothing happens that would upset them. If the last third was better I would have given it nine stars.

I use "Princess Raccoon" (to give the film its not-quite accurate English title) as a litmus test for my friends' sense of humour. It either leaves them cold and baffled - as it clearly did several other commentators on this site - or results in doubled-up laughter, unassailably huge grins and occasional gasps of admiration.

The laughter comes from the film's consummate mixture of parodies in contemporary style. Targets include a bouquet of Japanese and Western classical stage drama forms, from Kabuki to Late Shakespearian and Spanish renaissance Christian fantasy; the naff vacuity of the modern American and European musical, as witness a host of random tap- and rap- dance songs and some very funny banal lyrics, all choreographed with loving "amateur" cliché; Japanese anime and samurai live-action clichés; portentous Buddhist ritual; and the overweening sweetness of Viennese operetta. I've not laughed out loud so much at this type of film since Ken Russell's outrageous musical deconstruction in "The Boyfriend".

The grins come from the clever textual subversion of the Japanese legend, told in a traditional 5-act structure reminiscent of the plays of the 17th century master Chikamatsu. As in his work the narrative is advanced in a mixture of song, recitative, high-flown poetry and low comedy relief - here the pot-broiling of the incompetent ninja, Ostrich, by peasants under the illusion that he is a tanuki-raccoon in human guise. All of this somehow does hang together, and even more remarkably does manage to engage the watcher's emotions through the welter of cultural references.

In truth "Princess Raccoon" wears its pan-cultural garb with alluring lightness, and that's where the gasps of astonishment come in. Visually - again, as with Russell's masterpiece - the film is a treat, a riot of colour with its digitised backdrops of classical Japanese images from screens and prints, over-the-top costumes and stage sets, mixed with some breathtaking live action sequences in summer fields and seashores. You'll love it or loathe it, but there's no point castigating chalk for being cheese; and "Princess Raccoon" stands, first and foremost, as a wickedly funny as well as affectionate put-down of our contemporary cultural vacuity, in both East and West. Bravo!

Partly inspired by the Tanukigoten musicals popular in Japan in the 1940's and 50's, maverick director Seijun Suzuki's as-yet final feature, Princess Raccoon (2005), is a deliriously abstract and stylised fantasy that mixes elements of philosophy and mysticism alongside an approach to film production that is incredibly theatrical in design. Beyond the look and feel of the film - which is really quite extraordinary from beginning to end - and the wider disregard for genre conventions and emphasis on visual storytelling, the narrative of Princess Raccoon is disarmingly simple; essentially dealing with the notions of betrayal and desire and the ultimate in forbidden love at its most fable-like and unrequited; with all of these contrasting ideas presented in an incredibly metaphorical sense, with the allusions to traditional Japanese folklore and certain ideas that would also inspire the underrated Isao Takahata film, Pom Poko (1994), produced by Studio Ghibli.

Although this combination of influences and ideas might suggest an impenetrable work that requires a great deal of thought and consideration, the film is never heavy-handed or dense; with the themes being continually disguised by a veneer of colourful farce and giddy fantasy sequences that occasionally recall the style of classic cult TV series Monkey (aka Monkey Magic, or Saiyūki, as it was originally known), with the over-the-top characters, moments of kaleidoscopic colour and strange scenes of imaginative theatrical performance all captured against an artificial backdrop of stage design and lighting effects. It is typical of the defiant approach to cinematic rule-breaking and disregard for conventional storytelling that has been a highlight of Suzuki's work for the past forty-five years, as we see a complete symbiosis between the separate elements of the subject matter, and the self-conscious stylisation of the performances. Here, Suzuki really does indulge himself completely, drawing on elements of Noh theatre, Kabuki performance, Chinese scroll paintings and contemporary music videos, as he plays with a variety of sounds, images and musical motifs to create a jarring melange of ideas that underpin the thoughts and feelings of the two central characters.

If you're unfamiliar with the director's work on iconic films like Gate of Flesh (1964), Tokyo Drifter (1966), Branded to Kill (1967) and the more recent Pistol Opera (2002), then you'll no doubt find much of the film a complete shock to the system; with the filmmaker's personal style, combined with the unapologetic reliance on Japanese cultural motifs that require a certain sense of familiarity with the subject, definitely causing a problem for many viewers unaccustomed to this particular stylistic approach. The style may also prove to be something of a barrier for anyone unable to look beyond the sense of camp and kitsch favoured by Suzuki in his vision of the film; with the opulent colour schemes, theatrical facade, blue screen projections, wire-work, musical numbers and action choreography becoming entirely self-indulgent, and yet, perfectly suited to the thematic concerns of the film. Again, such devises may seem jarring or needlessly ostentatious to audiences unfamiliar with the director's work, however, if you make the effort to meet the film halfway - disregarding the more obvious elements of purely nostalgic Japanese iconography and concentrating on the fun and frivolity of Suzuki's style and the deeper themes expressed through the characters - then the film pays off on a number of levels.

Admittedly, there are still a few flaws; with elements of the story often grating and occasionally becoming hard to follow. There is also a downside to the film's emphasis on look and style - which eventually overwhelms us and causes us to lose sight of the more human element of the story within the scenes of outlandish, fantastical abstraction. Nonetheless, perseverance and a keen attention span will allow us to keep up with the film's jaw-dropping spectacle, and again, if we disregard the more purely Japanese elements of the script and focus on the central moral dilemma, then the film does work on a more immediate level. Unfortunately, judging from many of the other user comments, it would appear that some elements of the film were lost in translation. A real shame! Once again with Suzuki, the film exists, first and foremost, as a work of joyous, escapist entertainment; something that Princess Raccoon delivers in spades.

This movie starts off promisingly enough, but it gets a little to convoluted and caught up in its stylistic charm. The set designs, costumes, and music were wonderful- as close to perfect as one can get. But the more I got into the movie, the more I felt like all this effort was for the director's entertainment, not the audience. Although, I loved looking at it, except for a few brief musical scenes, I can't say I enjoyed it. The director shows enormous imagination, but if he had fun with this film, he failed to share that with the audience, or at least with me. I didn't get a sense of whimsy and I didn't get sucked into this universe.

A big cause of this was (surprisingly) Zhang Ziyi. You can tell she's trying very hard, but she seems to have been so miscast that she comes off almost amateurish. She's a capable actress but she has her limitations. I've noticed in her acting, that she has yet to truly react to her fellow co-stars, a flaw that creates a void of chemistry. The language barrier in this film seems to have only exacerbate matters. She and Odagiri act as if they're on separate planets. She's also not a very good singer which made me cringe every time she sang, but thankfully there weren't too many scenes of that. Odagiri was OK but doesn't make much of an impression.

I didn't even care for the characters separately. There really is a sore lack of characterization. The only reason to care about them seems to be that they're good-looking royalty. Without the compelling love story at the center of the film though, it's hard to care what happens. The film also takes detours into minor scenes that added nothing to the story and was actually distracting. I had to rewind because after going into a subplot I couldn't remember what the heck they we're doing in the main storyline. There were also scenes where it was hard to tell what the action occurring was because it was so stylized.

Mostly I'm just disappointed because I really like the concept behind this and there are a lot of things I do like. The music and dance choreography are really great.The supporting performances are uniformly excellent, fantastic in both the acting aspect and the singing. It's just too bad the lead actors were so bland.

One hilarious thing I'll say off the top, is I'm not the biggest Seisun Suzuki fan. I've actually seen a fair number of his works (thanks to a retrospective the film festival had) and I found his films just a wee too Yakuza-driven for my tastes. So, I went into Princess Raccoon wary of what I was going to see. Boy! Was I knocked out! 'Raccoon' is Suzuki's attempt at a musical, using the elements of Japanese opera mixed in with many modern elements (both Audial and Visual), Raccoon is a treat from start to finish. The lead actor, Joe Ogdari, proves that he's one of the hottest actors in Japan these days in this role. I have to admire that the younger Japanese actors still take roles that take place in Feudal-times Japan, dressing up in Samurai gear to full effect. The story itself does get a bit confusing, if you don't follow it really closely, but even if you don't, prepare yourself for the treasures that Princess Raccoon has.