Sol Nascente

A woman is strangled to death while having sex in a Japaneses' corporation building. Lt. Webster Smith (Wesley Snipes) and Japan expert Captain John Connor (Sean Connery) are assigned to solve it. All the evidence points to her Japanese boyfriend but there's more to this than meets the eye.

Michael Crichtons novel was a frightening and powerful story about how it seemed (at the time) that Japanese corporations were taking over everything. As an adaptation to that this is a joke. Smith is made black for no good reason, the anti-Japanese slant was toned down a lot, there was no romantic interest between Snipes and Tia Carrere as is shown in this movie and the identity of the killer was completely changed! It really destroyed the book. But, if you ignore the book, this is OK on its own terms.

It's well done and written and there's some good acting by Connery, Ray Wise (as a slimy senator), Harvey Keitel (as a cop) and Steve Buscemi (still not sure what he was). But the story is way too convoluted, goes on far too long and has an ending which is more than confusing. Also Connery and Snipes do not work well together. There's no spark between them--they seem to be acting in different movies. There's also plenty of pointless female nudity. This lessens what could have been a good strong movie. So it's an OK thriller. Worth catching if you're a Connery fan. The book is much better.

Scenes of cowboys on horseback, and Cole Porter's "Don't Fence Me In"... reassuring cultural markers which quickly dissolve as we find ourselves in the steely 19990's in a Los Angeles that has been snaffled by the Japanese. The western and the music are mere karaoke images. Americans had better learn how to bow, because their masters are moving in.

"Rising Sun" is a sophisticated thriller which flips neatly between fear of the sinister Japanese (electronic surveillance, big business buyouts, Yakuza) and a deep understanding of, and reverence for, Japanese culture. Wesley Snipes plays Web Smith, a lieutenant in the LAPD assigned to investigate a murder on the Los Angeles premises of a Japanese corporation. He has Captain John Connor attached to him (Sean Connery), an older man who is believed to have 'gone native' and sold his soul to the Japanese.

At every turn, American short-sightedness is losing out to the Japanese hardball players. One of the film's morals is, if we don't like the way they are buying up our assets, we have no business selling them in the first place. Japanese strength comes from the social discipline and immense intellectual vigour of their way of life. "We may come from a fragmented MTV-rap-video culture," says Conner, "but they do not."

Conner has studied the eastern way and is respected by the Japanese for his grace and learning. He guides Web Smith along the path of enlightenment in the course of solving the murder mystery. They adopt the traditional sampai-kohai relationship, the tutelage of a wise elder from which a worthy young man learns.

In this story of cutting-edge video fakery, the film exploits images intelligently. We see reflections of Web and Jingo on the TV monitor as they analyse the 'ghost'. Connor effects a clever 'look-back' on the lab's video camera, hinting at hidden permutations in the characters' relationships. Time after time, we are led persuasively down a line of reasoning, only to find that it is a chimera. As Connor says, "When something looks too good to be true, then it's not true."

There are some weaknesses in the film's structure. 'The Weasel', the journalist tracking Web, is badly misconceived. His place in the story is negligible and his dramatic possibilities are abandoned almost as soon as he is introduced. The reliance of Web on his old 'brothers' to intimidate the Japanese pursuers is lame and patronising, with its 'boyz'n'the hood' silliness. To describe these 'rough neighbourhoods' as 'America's last great advantage' is patent hogwash. The corrupt senator is the tired stock-in-trade of these thrillers, and fails to convince. The reaction of Morton's wife to the fax transmissions is utterly unrealistic and melodramatic. That two LAPD cops should beat up half a dozen Japanese thugs using karate is frankly insulting, even to Japanese thugs.

The performance of Sean Connery is very impressive. He plays Connor with the clear intelligence and the confidence in his own powers which such a man would surely possess. He alone understands both cultures, and therefore he alone can solve the riddle. Because Connery is convincing, the film is a success.

This movie is not always easy to understand but if you give it a couple of looks, which it is worthy of doing, all the pieces finally fit and it's a good two hours of entertainment.

This modern-day crime movie may have a lack of action compared to others of its genre but it never loses your attention. Sean Connery, Wesley Snipes and Harvey Keitel star, along with Cary-Hiroyuki Tagawa, Kevin Anderson, Mako and Tia Carrere. This is a high-tech story (at least for 1993) as two cops try to figure out who murdered a woman. It's Japanese-big business-politics intrigue with surveillance cameras being the key to figuring out a murder.

Connery and Snipes complement each other as a "buddy" cop duo with Connery being mostly responsible for making this story interesting. The still-suave ex-James Bond plays the cool veteran and it's fun to watch him operate.

The only complaint I might have is the ending, a stupid romance-type story with Snipes and Carrere that was very post-climactic and not needed.

You get the interesting team-up of Connery & Snipes in this Japanese infused tale that was one movie in a wave of similar entries in the 90's. However you can be forgiven if you find the story meandering on route to a simplistic ending or just too long in the tooth. At over two hours in length, there's only so much the cast of faces can do.

On the eve of a controversial merger between Japanese company Nakamoto and an American firm, a woman Cheryl (Tatjana Patitz) is murdered in an LA boardroom during a party. Lt. Web Smith (Wesley Snipes) is put on the case and he's told to get Cpt. John Conner (Sean Connery) a specialist in Japanese affairs to assist. At first, it's seems very simple. A sexual tryst gone wrong and the lady's boyfriend Eddie Sakamura (Cary-Hiroyuki Tagawa) is guilty, but everything is not what it seems in this clash of cultures.

You get prominent appearances by Mako, Harvey Keitel, Ray Wise, Tia Carrere. Unfortunately none of them stand out as they're all one note functionary roles. Connery turns in a decent trip, but it's a character very much suited to him. That leaves Snipes to be the slightly out of his depth, ignorant American pawn. Tagawa gets the best role and has fun with it.

The conspiracy, the lies. Watching the duo chase down leads, talk to people is somewhat mundane. You get some fun moments like Snipes having to fight off a naked woman on his back and Connery quickly disarming a bodyguard though. Balance that with cliches like Web in the ghetto to get help or Connery knowing all the right people.

'Rising Sun' wants you to believe there's more going on here than there really is because they dress it up in some exotic sense of mystique. That's all surface level. Fans of Connery & Snipes will be the biggest audience giving this a go, but will agree it's neither man's best work.

This adaptation of Crichton's novel of the same name is flawed, specially in some key casting (Snipes is wrong for the part) and tone choices (the main relationship is badly portrayed, some characters enter and leave without regard and the action scenes seem very off).

However, it makes the grade into the above-average category of high-tech thrillers for the excellent Sir Connery performance and the adherence, in about 80%, to the gripping and quite scary, economically speaking, original plot.

Crichton was never afraid to take a stand and the movie version, although clearly into a more action-driven-politically-correct approach, tried to present a more layered portrayal of the business war arena, without hiding the author's criticism of the American posture towards the velvet covered Japanese iron hand on such matters, which is refreshing.

The pace is lightning fast, the convoluted plot is presented in a very satisfactory fashion - the audience can understand what is going on and why - and the almost 2-hour movie passes by with grace.

The little disappointment goes for the last 20 minutes, that present a rather stupid conclusion (different from the book, I might add) and wastes the audience time with perfunctory developments that could, easily, have remained in the edit room floor.