Gojoe

This story is set in 12th century Japan and shows the fight of a non-violent monk against a demon protector of the Gojoe bridge. As far as story goes, this one is not very interesting. At no point in the movie do you actually care what will happen next. The pace is slow, which is successful at times, but feel overly drawn out for the majority of the picture.

The fighting scenes are not very well choreographed and are truly long and boring with the exception of the finale one. The effortlessness in which the demon slays its victims should have been shown with a few well placed kill instead of a continuous uninteresting, placid bloodbath. It is said that the demon wants to kill a thousand souls, and the director seemingly tried to show us at least a few hundred kills. I think this was a mistake.

As much as the story fails to convey anything substantial, the cinematographic work of Makoto Watanabe is some of the best footage I have seen in a while, who exploits some interesting visual technics and has an amazing grasp of the power of colors. It also serves to create some distinct moods that can be relatively suggestive and involving. In particular, I am thinking here of a scene in which Benkei finds a poor soul on a beach who wants to set himself ablaze. Numerous innovative compositions were also well used by director Sogo Ishii who seems to be given his cinematographer some creative leeway. Unfortunately, the director cannot direct the rest of this mediocre story to anything substantial. The real star here is Watanabe who proves to be an ingenious director of photography and explores the art more than your average DOP. If you like artistic cinematography, I suggest you endure the tedious story (put mute if you want) and enjoy some excellent footage.

Gojoe is part of a new wave of Japanese cinema, taking very creative directors, editors and photographers and working on historic themes, what the Japanese call "period pieces". Gojoe is extremely creative in terms of color, photography, and editing. Brilliant, even. The new wave of Japanese samurai films allows a peek at traditional beliefs in shamanism, demons and occult powers that were certainly a part of their ancient culture, but not really explored in Kurosawa's samurai epics, or the Zaitochi series. Another fine example of this genre is Onmyoji (2001). I would place director Sogo Ichii as one of the most interesting and creative of the new wave Japanese directors. Other recent Japanese period pieces I would highly recommend include Yomada's Twilight Samurai (2002) and Shintaro Katsu's Zatoichi: The Blind Swordsman (2003).

Gojoe (2000) is a typically vibrant and vivid piece of film-making from Japanese firebrand Sogo Ishii, who remains perhaps one of the most radical and underrated Japanese filmmakers of the last twenty-five years. Ishii began his directing career in the late 1970's when he was still a student at the Nihon University, and his work of that particular period with films like Panic High School (1978), Crazy Thunder Road (1980) and Burst City (1982) reflected an interest in performance art and his involvement in the Tokyo punk scene. Though later films like Angel Dust (1994) and Labyrinth of Dreams (1997) saw a greater sense of maturity and more clearly defined emphasis on character and atmosphere, he remained a consistent and interesting talent with a truly original vision.

Gojoe returns somewhat to the style of Ishii's earlier, bold and energetic work; combing grand spectacle with clearly defined storytelling with roots in actual Japanese folklore. However, the way in which the narrative unfolds is really quite interesting, with the story beginning with a scene of murder and the notion that the killing could have been supernatural as opposed to political; with Ishii's subtle use of cinematography, editing and sound design creating a staggering sense of tension from the very first frame. Added to this, there are definitely shades of Masaki Kobayashi's classic anthology-film Kwaidan (1964) and Kaneto Shindō's masterpiece Onibaba (1964) being developed here, with that great atmosphere of supernatural intrigue, murder, violence and dread being continually juxtaposed against an expressionistic period setting, which seems somewhat nightmarish and vaguely ethereal. The violence of Gojoe is occasionally fairly explicit and definitely over-the-top, but there is a distinct balletic grace to the way in which Ishii captures the action; creating something that falls halfway between the over-the-top fountains of gore seen in the majority of Japanese Anime (or the more extreme films of Takashi Miike), with something that is perhaps closer to the heavily choreographed kabuki theatre or interpretive dance.

As the story progresses the supernatural elements give way to political intrigue and elements of actual historical fact, but the whole arc of this notion seems designed to add some sense to the story of warring rivals, as opposed to giving us a full-blown history lesson. Dialog is sparse and character development tends to emerge slowly from the quiet scenes of silent brooding and the more sombre moments that stress a philosophical aspect to the boundless scenes of violence and swordplay. Though ultimately the plot is slight and simplified to the point of near abstraction, the film manages to keep us motivated through the continual combination of Ishii's imaginative direction and the fine performances of lead actors Daisuke Ryu who portrays the warrior monk Benkei, and the always surprising Tadanobu Asano as the mysterious and deadly Shanao.

As an actor, Ryu is probably most familiar from Akira Kurosawa's historical masterpieces Kagemusha (1980) and Ran (1985), as well as Takashi Miike's more recent remake of Graveyard of Honour (2002), while Asano has worked with a number of highly esteemed Japanese filmmakers, including Shinya Tsukamoto on Gemini (1999) and Vital (2004), Nagisa Oshima on Taboo (1998), Takeshi Kitano on Zatoichi (2003), the aforementioned Miike on Ichi the Killer (2001) and Sogo Ishii again on subsequent films Electric Dragon 80, 000 V (2001) and Dead End Run (2004). Though essentially playing antagonists, the two actors complement each other exceedingly well, creating bold characters that manage to instil a sense of purpose and authority from a film that tends to rely heavily on action and excess. In terms of martial arts, swordplay and a greatly choreographed sense of movement, the film has certain similarities to director Zhang Yimou's trilogy of historical set martial arts films, Hero (2002), The House of Flying Daggers (2004) and The Curse of the Golden Flower (2006), with Gojoe's reliance on historical content, culture and subtle shades of politics probably stressing a similarity with Hero in particular.

Certainly, I wouldn't go as far as to call Gojoe a masterpiece. It has its flaws, most of which are in the plotting, the heavy reliance on historical context, the awareness of the Japanese folklore that inspired it, and the over abundance of lengthy fight sequences, but still; this something that is definitely worth checking out. Ishii's direction is filled with an eerie sense of atmosphere, energy and imagination, masking the limitation of the budget until a few sadly fake looking FX shots towards the end, and offering us some of the most vibrant and violent scenes of action and combat you're ever likely to see.

GOJOE takes a little getting used to at first, but the final result is very satisfying. The tale, about a murderous samurai who seeks to redeem himself by opposing an effeminate, but dangerous samurai, is worth more than a watch. There is a lot at stake here, from physical survival to soulful salvation. The movie may seem a bit similar to other anime-inspired Samurai film at first, but it does eventually delve into more mature/adult territory soon after.

Not to be missed. GOJOE is one of the better samurai movies to come around post-Kurosawa.

8 out of 10

(go to www.nixflix.com for a more detailed review of the movie and reviews of other foreign films)

Another attempt by modern Japanese directors to redefine the chambara genre. Successful, and not, in varying degrees.

Buddhist monk has a vision that he is to slay a legendary (and very active) demon at the Gojoe bridge in order to attain enlightenment. While not at the forefront, Buddhist thought is at the heart of this movie, much like Kurosawa's "Ran". It probably what made the movie the most interesting to me although it's nowheres near "Ran's" league.

Stylish visual direction and excellent photography keep the movie mostly interesting throughout the two hour and eighteen minute length. The lead actors are uniformly excellent. The music is really good. The two weaknesses are the story and the fight scenes. The movie drags in the middle which could have been fixed by some prudent editing. And the fight scenes are mostly filmed in blurry close-ups. This works for most of the film but the finale feels like a cheat. Another recent film like this is Tsui Hark's "Seven Swords", great film but the promised fight scenes are disappointing. Asano really doesn't move like a sword wielding demon, his acting is great but he would be an extra in a traditional chambara fight scene.

Good movie, you'll probably find it interesting just don't expect traditional sword fights.