Shield of Straw - Proteggi l'assassino

Comparing this film to some of Miike's other films (such as Ichi The Killer or Fudoh), you can tell he's going for a more mainstream style here. The film revolves around a team of police officers (or Security Police as they're referenced as) who are tasked with the job of protecting a murder with a one billion Yen bounty on his head. I loved this concept (which is reminiscent of S.W.A.T's storyline) and it got me invested in the story. The idea of all of Japan having their eyes on one man was extremely interesting and gave major tension to the film. You never knew who was going to try to claim that bounty and at what time. I did have some gripes with the film, such as Nanako Matsushima's character constantly threatening Kiyomaru and then suddenly saying she was testing them, but overall I had a fun time with this. Don't go into the film expecting Miikes' usual bloody and twisted style, but instead a more mainstream and entertaining film with a little bit of thought to it.

Director Takashi Miike is renown for developing films that thrust the characters into life threatening situations, whilst dealing with issues concerning basic human tendencies, often accentuated to graphic levels, guaranteed to provoke conversations between some people, and sheer unnerving suspense amongst others. Shield of Straw is no different, asking its audience questions regarding the differences between vengeance and justice, while positioning viewers to contemplate how far they would go to protect a monstrously psychopathic individual, depicting society in general as a collection of individuals, who, upon the promise of economical gratification, are willing to inexplicably forgo moral conventions.

These questions and ideas are forced upon the viewer by character Takaoki Ninagawa (Tsutomu Yamazaki), one of the richest, and at the same time, oldest, men in the country. The murder of his seven year old granddaughter at the hands of Kunihide Kiyomaru (Tatsuya Fukiwara), who had only recently been released from prison for a previous crime at the time of the incident, causes him to take matters into his own hands three months later, after police appear unable to apprehend Kiyomaru, who is currently on the run. The promise of one billion yen to whomever kills Kiyomaru causes a triumphant chain reaction, that leads the murderer to surrender himself over to police custody, upon realization he is unable to protect himself.

Kazuki Mekari (Takao Osawa), a member of the security police, who we discover early into the movie is still coming to terms with the loss of his wife, a back-story that is conveyed during the film, is hired by section-chief Ooki (Hiroatro Honda) to escort Kiyomaru to Tokyo police, where he will be released into the custody of the prosecution. Those also brought on to assist in escorting the criminal include fellow security police member and single mother Atsuko Shiraiwa (Nanako Matsushima), Takeshi Okumura (Goro Kishitani), Kenji Sekiya (Masato Ibu) and Masataka Kanbashi (Kento Nagayama). Early into the film, the threat posed by the police force themselves is powerfully executed, those providing protection to the murderer continuously suspecting one another of betrayal, and despite money initially been the cause for such worry, later, themes including honor, personal values, vengeance, and doing what is morally right, begin to plague those involved.

Although the film presents viewers with the quandary, who are we to trust if the police themselves are criminal, Kiyomaru is far from a sympathetic character, his behavior, and complete lack of empathy, making him a narcissistic villain that causes even the audience to wonder whether protecting such a vile criminal is worth it. At the same time, Ninagawa is equally complicit as a villain, his actions causing a significant number of casualties that he himself appears unaffected by. On a side note, though the formalities of Japanese culture are well imbedded into the feature, this viewer was occasionally left wondering if characters with blackened hearts truly deserved the respect they were given, a question additional viewers may ponder.

Moving on, the movie begins with such intensity, which is especially due to the visual flare, including a massive assortment of police vehicles escorting the prisoner, alongside another scene involving a truck, barreling at high speeds towards the lead characters, a mixture of gun fights and an explosion that can only be described as outstanding, grabbing hold of the viewer's attention. The idea of having 125 million possible suspects out to assassinate the antagonist makes for a thrillingly anxious climate, whereby the threat could appear from anywhere, this notion being continuously attended to over the feature's duration. Where the introduction seemed to have an over-reliance on filling the screen with vivid entertainment, as the film progresses, more isolated environments begin to suspend the viewer in a very different atmosphere, the intensity of dialogue between characters as themes concerning greed, corruption and death begin to swell to almost cataclysmic levels mean the actors, rather than the affects, attend to the atmosphere.

Environments, from sprawling metropolis, outer city developments, to countryside roads, make for a variety of locations, the soundtrack adding to this, immersing the audience in either the excitement, or the gripping character drama, though at the same time, the scenes where only the diegetic ambiance can be felt, are equally intense. On other occasions, the soundtrack appears to become too impacting, the orchestral themes gradually becoming louder, signifying a thunderous event, that never actually occurs.

Although originally excitingly fast, the slower pace towards the end is potentially less effective, despite the tension remaining satisfactorily convincing, however, the initially surprising atmosphere, where threats could come from anywhere, begins to instead be replaced with a slight degree of predictability, as the number of threats begin to increasingly narrow. The ending will no doubt cause audiences to question if justice really is dealt, and though the film efficaciously grapples with viewer's emotions, it is uncertain if sadness or anger was the intended feeling Mr Miike wanted to garner.

I watched only a few of his other features including ICHI THE KILLER, and the least I can say is that it was quite different if you compare with this one. The others were rather weird, crazy, sometimes tongue in cheek, but very good in their ways. This one is far better for my own opinion and closer to a classical way of filming, although remaining very very dark and depressing. I say it's a masterpiece, close to what the Korean film industry may give us so often these last years. it's an action movie whilst being an emotion film. You have poignant, gripping sequences here, with a powerful acting too. And some scenes, in their way of filming, camera angles, reminded me some Jean-Pierre Melville's features. Miike Takashi has already said over and over that Melville was one of his master.

I guess that's his best piece of work up to now, if not the most representative from his whole filmography.

Don't miss it at any price.

I am sure the US movie industry in Hollywood will make a remake of this one. I am even surprised that the Americans have never made such a film with such a topic. But after all, maybe I am wrong.

"Wara no Tate" or "Shield of Straw" is a Japanese action-thriller and drama based on a novel by Kiuchi Kazuhiro. This movie convinces with a balanced mixture of brutal and gripping action sequences on one side and philosophical discussions on the other. It tells the intriguing tale of a disgusting psychopath who needs an ambitious police escort to get transported from a rural town to the capital Tokyo where he should be sentenced by a public prosecutor. The grand-father of the psychopath's latest victim, who is terminally ill with a heart disease, wants the man to get killed at all costs. He bribes editors and reporters to announce that the billionaire is willing to offer one billion yen to anyone who would kill the psychopath and then turn her- or himself in to the police and prosecutor to get judged for her or his actions. The vengeful billionaire goes even further and bribes criminals, nurses and even police officers to get the psychopath killed. Five courageous police officers get the dangerous job to get the psychopath to Tokyo via transporters, trains and even cars as they have to face one hundred twenty-five Million potential opponents. Soon, their conscience come into play. Is it worth to risk your lives to save a monster that is probably going to get sentenced to death anyway? Are their accuracy, honour and sense of responsibility strong enough to bring their job to an end? And is there even a traitor within the small group who wants to get the Money and help the billionaire to get his worst enemy killed? "Wara no Tate" is not only an entertaining but also thought-provoking piece of art that works very well despite a few minor lengths during a running time of over two hours. The question the viewer is constantly asking her- or himself is: Would I hand the psychopath over to the prosecutor or would I kill him, get the hefty reward and go to jail? This movie is clearly above average not only due to its balanced mixture of profound dramatic elements and vivid action sequences but also due to many excellent actors. From the honest police officers and the scary psychopath over the sick and grieving old man and many potential headhunters, every single actress and actor does an excellent job no matter if his or her screening time is about two hours or just two minutes. The different characters are profound, diversified and credible and many of them develop in an interesting way throughout the movie. The greatest actresses and actors are the intelligent female cop and single mother portrayed by Matsushima Nanako, the desperate and lonely police officer with a strong will portrayed by Ohsawa Takao and especially the wicked psychopath portrayed by Fujiwara Tatsuya. The psychopath gets more and more evil as the movie progresses and especially the last sequences show us the abyss of the human soul. On my list of the most evil characters in cinema, I would place him third just behind the sinister serial killer Kyung-chul portrayed by Choi Min-sik in the Korean psycho-thriller "I Saw The Devil" and the evil spirit Bob portrayed by Frank Silva in the "Twin Peaks" series and movie.

Apart of the balanced storyline and the acting performances, Japanese cult director Miike Takashi did one of his most memorable works in recent years. The images, setting and special effects are well employed and feel real and spontaneous yet wisely arranged and chosen. There are neither shaky camera passages as in many Hollywood movies nor an overload of predictable and stereotypical visual effects. Miike proves once again that he is one of the best current directors and he took advantage of a decent budget and excellent cinematographers involved in this project.

The only reasons why somebody could not like this movie is because of its mixture of philosophical dialogues and grisly action sequences. Action fans might get bored by the dialogues while fans of more sophisticated dramas might find the movie too repugnant for its violent content. Any open-minded cinephile with a soft spot for Japanese extremes should though watch this high-quality movie that gets easily in my top twenty of the best movies of the year. It's a shame that there were only three people in the cinema when I watched this film as this movie is definitely better than many of the exchangeable Hollywood sequels where you exactly know what to expect.

Enjoyed it! Straight forward (for a Miike film). It would be a great double bill with Clint Eastwood's 1977 flick The Gauntlet. It is very close in plot and theme with The Gauntlet, which I've found to be an overlooked title that, although a then contemporary cop drama it could have been a spaghetti western (not surprising considering Eastwood's origins with the spaghetti and it's links to samurai films). Becomes much darker as it becomes more personal than political in comparison to The Gauntlet; however I think that paints an adequate picture of Shield Of Straw. Check it out!