Furyo: Em Nome da Honra

I remembered watching this movie when I was younger and it affecting me a lot. Well, I re-watched it recently and it has lost none of it's power.

The acting in the movie is adequate without ever being great (the notable exception being Tom Conti who is fantastic in his role as the misunderstood titular character).

However, the movie moves beyond the acting and once you are embroiled in the atmosphere and realism you become oblivious to any acting shortcomings.

The movie must be one of the most accurate depictions of human nature in a war. It has a diverse range of characters yet none of them becomes a caricature. It certainly doesn't sink into the good vs evil mindset that many war movies do.

The violence is graphic and shocking despite lacking the visceral realism of Spielberg's later war movies.

The ending of the movie still affects me, even after repeated viewings. I still have to a lump or two to stop from crying even now.

Overall, recommended for anyone with an interest in a non-stereotypical movie about war. Not for the faint of heart though.

SPOILER: I saw this movie when it came out more than 17 years ago. At the time a big deal was made about David Bowie being in it. He is, and does a fine job, but the movie isn't about his character. It is far more about the differences between East and West, and the cruelty of war. I was able to see it again last week on a cable channel.

To fully appreciate MCMR, try to understand the culture of both the captors and the prisoners at the time. To the prisoners, their existence in the camp is an unfortunate result of war, and should be temporary and not a life or death experience. To the Japanese captors, the prisoners who surrendered rather than died fighting are cowards, beneath the notice of the captors and likely not even viewed as human beings. They are expendable. But first, in this particular camp, there is an effort to "educate" the prisoners about the way a *true* warrior lives life (and dies). That is where the true conflict begins.

There are multiple physical and psychological struggles going on in MCMR. There is even some homoeroticism, though it isn't fully explained. There is certainly a lot of sadness, for characters on both sides. This point is brought home at the end, when the roles are reversed for two of the characters.

Even today, I can hum several parts of the score to MCMR, and they make me melancholy as I recall scenes from the movie. If you like movies that delve into the darker side of the human spirit (with some lightness thrown in), check out MCML. I rated it an 8.

Do not mistake this masterpiece for a Capra Christmas movie. It is a war film without action (but with atrocities) that opens your eyes and is incredibly versatile and therefore applicable to any war that knows a winner and a loser.

The story is completely about perspectives and motives: power-madness and despair. Some might find MCML hard to stomach while watching, some afterwards. But I say you have to watch it through to appreciate the concepts fully. Moreover, I say you shouldn't vote it before you've seen all of it; that way the rating wouldn't be as low as 6.9. MCML is one of those films that surpass movies like 'Platoon' (Stone, 1986) on any level. Added to all that, it's also beautifully shot by cinematographer Toichiro Naroshima (Double Suicide).

One of the best scores in history of cinema by Ryuichi Sakamoto (also 'Wild Palms' and 'Sheltering Sky'), who not only provides it with his strokes of musical genius, but also plays an important role: the androgynous and curious captain in contrast to the virility of Takeshi Kitano (dir and acted Violent Cop, Brother, Hana Bi) the self-confident and straight-forward sergeant. If you've seen any of Kitano's movies, his character in MCML will gain from that. I guess director Nagisa Oshima (Naked Youth, Gohatto) likes to play with feminine and masculine characters. David Bowie fits in brilliantly from that perspective. His character is the most complex and worked out the deepest. My opinion is that this is his best and most intriguing role so far ('the Man who fell to earth' came close). Conti ('If we'll do it, he'll do it') plays a key figure between the Japanese and the POW.

On which side to lose a war? When to intimidate and when to be intimidated?

Which side are you on anyway? 'There are times victory is very hard to take' - Colonel John Lawrence. Not without reason sergeant Gengo Hara says 'Merry Christmas Mr. Lawrence' not: 'Merry Christmas Colonel Lawrence'. Are you intimidated by an initiation? Or still not when you're POW and the only free part of your body is your head? These are questions the film raises. Unfortunately I can't compare the film to the book, because I haven't read it. MCML is immensely powerful, and really underrated. 10/10

David Bowie appears on the cover of this film, in spite of having one of the smaller major roles. After you see the movie you no longer question his presence there. His performance is magnificent. Watch for the understated behaviour regarding the flower.

This film is memorable because of a tremendous cast (including Jack Thompson- who keeps popping up in war movies) and a wonderful soundtrack by Ryuichi Sakamoto, who also performs in the movie. The soundtrack captures the jungle feeling, coupled with Japanese moods. Forbidden colours (song) has been known to give me goosebumps.

Very much, not your average War movie, _Merry Christmas Mister Lawrence_ is excellent because it portrays the relationship between captor and captive, victor and defeated. It's a movie about human spirit and love under dangerous circumstances! It's a movie about discipline and honour, especially the different way these are perceived.

Based on Laurens van der Post's "The Seed and the Sower", "Merry Christmas Mr Lawrence" is an involving, almost unbearably moving and incredibly humane film. While Bowie toplines, the real star is Tom Conti as the eponymous British Officer trying to reconcile his respect for Japanese culture and innate humanity with the barbarity of the POW camp. Bowie has often been criticised for his acting, yet aside from a rather laughable flashback sequence where he impersonates a schoolboy, he is convincing as a mysterious and spirited "soldier's soldier" who has a beguiling effect on the young officer commanding the camp, played by Ryuichi Sakamoto, who quotes Shakespeare and issues brutal orders in almost the same breath.

Sakamoto, who is also a pioneer of electronic music with the Yellow Magic Orchestra, also wrote the soundtrack, including the famous "Forbidden Colours" theme (you probably know this even if you don't know where it's from) which conjures up the atmosphere of regret, lost love and repressed heartbreak in which we see the strange, unrequited love of Sakamoto's character for Bowie's. This film is about this impossible unrequited love and about the struggle of human values in wartime. As Lawrence (Conti) says to a Japanese Officer facing execution after the war; he is now the victim of "men who are sure they are right", just as in the camp the Japanese were sure they were right. The last scene between the decent, humane Lawrence and this officer, who was by turns hearty and brutal in the camp, is one of the most heartbreaking ever committed to celluloid.