Tabu

I like the music, the acting and the setting. The kendo matches pretty well done, you get to see lots of footwork too. Great camera, and finally an odd mix of sex, gore, action and humor all rolled in one that works so well. I didn't even notice the time flying when watchin this show so engrossed I was in it ^_^ This show is full of innuendos and symbolism. Lots of brainwork to be done here, no answers spoonfed. I found myself rewatching some scenes to gain a better understanding based on the setting, posture, clothes color, etc of the actors. Every little detail counts...

Oh yeh for spoilers you should read the IMDb discussion boards, I posted my interpretations there as did many others. Like others say, there is a relatively rather ambiguous ending but if you pick up on all the clues along the way you'll understand it and then u get to appreciate the movie for being subtle and clever, saying without exactly saying.

Gohatto: 7/10

This was the only Kitano movie I had seen until Brother, and I thought he was someone else in the movie. And then I saw a "more impressive" actor... who turned out to be Kitano. Doh! The story of this was very interesting, and I'm not sure how it'd go over in America. It explores homosexuality and it's relative openness in the samurai, and is based around a handsome young man, who a lot of men fall in love with. These men start turning up dead, and a jealous member of the clan is suspected. The movie gets confusing at times, but I think that is more because of a cultural difference than script downfalls. Kitano is brilliant in this one as the captain who seems to be struggling to hide his affections for the young man (Ryuhei Matsuda as Sozaburo Kano). There are several branching storylines, but they all lead back to the main one. Not a masterpiece of anything, but more quality Asian cinema.

Some people have a sexual magnetism so intense that it's scary

for everyone--gay, straight and disinterested--to be around them.

It's because any mature person can sense that a huge and

destructive power has been placed in the hands of someone not

responsible enough to wield it--and that can be pretty much

anyone so cursed/blessed. You feel as if a small, mercurial child

has his fingers on a hydrogen bomb. These are the most attractive

and the most frightening people in the world.

Nagisa Oshima's TABOO is a spellbinding quasi-thriller in which

every scene squirms with a sexual tension that's almost

unbearable. As in MERRY CHRISTMAS MR. LAWRENCE, the tension between Japanese militarist face-saving and an

underlying homoeroticism sizzles to the boiling point.

Oshima has an understated gift for intensifying everything. The

simplest closeups have a charged, my-horniness-is-giving-me-a-migraine sizzle. TABOO resembles

the sixties British Z-movie STATION SIX SAHARA, in which Carroll

Baker enters a desert outpost of military men and causes libidos

to go bananas. Except that here, Oshima diagrams the psychology

as clearly as Kubrick might. TABOO does not perhaps have the

human depth to be a masterpiece, but it is a reminder that Oshima

is the cinema's reigning poet of the war between control and

uncontrol.

Nagisa Oshima's work is always visually exquisite. He has that finely honed, generations-old Japanese eye for detail which has served his artistry well over the last 50 years. It reveals itself to be the difference in the world of film that a Monet, Michelangelo, or Van Gogh is to sidewalk chalk drawings.

Decades ago, Oshima set out explore new territories, to leave formula and standard, approved plot progressions behind and delve into the deeper recesses of the human experience. What comes out of that are works of storytelling which require more attention and involvement on the part of the viewer than your typical Michael Bay or Renny Harlin flick. Not that pure escapist entertainment is a bad thing; far from it. But you don't generally come away from one of those features wanting to go sit at a table with your friends, staying up to the wee hours discussing what you've just seen and all the ramifications of each scene. In simpler terms, they don't enrich your intellect! (I think even Bay?s and Harlin?s most ardent fans can agree with me on that part :-) ).

"Gohatto" is the Japanese word meaning "Taboo" in its simplest form, so you know going in your about to see something out of the ordinary. Oshima has long had a fascination with the dichotomies in Japanese culture (and frankly most cultures) between how behavior is proscribed and how the more primal, instinctual urges (mostly sex) always find their way to the surface in spite of those mores. Oshima has also found a fascination in seeing how both Western and Eastern cultures have, at one time or another (or more than one), put strict moral taboos on homosexuality, adultery, and even on prostitution, but these strictures have never eliminated or even slowed down their existence.

"Gohatto" takes us into a world 150 years ago where such things don't exist on the surface but are fully integrated into what is real life just beneath. Whether such subject matter, or exploring Eastern cultures, particularly interests you or not, if you're interested in being challenged by the art that you see, "Gohatto" (like Peter Greenaway's recent "The Pillow Book") is a must-see film.

I happened to catch this film on BBC4 last night. My attention was immediately caught by the stunning Japanese setting, and as the film progressed, by the unusual storyline.

This film is about the Shinsen militia: a group of samurai in shogun times. The story explores the homoerotic tensions between the men, as well as the conflict with another militia (group of samurai).

In a way, not much happens in the film, but at the same time, it is fascinating from beginning to end. Takeshi 'Beat' Kitano gives an impressive performance as one of the older samurai, and in fact all the actors are very good.

While the overall atmosphere of the film is quite dark, there are many funny moments which lift the mood. The humour is quite subtle - no slapstick here.

The film is visually stunning, with wonderful use of light and colour to emphasise the mood of each scene. The Japanese mountains, lakes, and buildings look gorgeous.

There are some moments in the film which are quite graphic, both sex and violence. However, this is not done in a gratuitous or grotesque way, and I didn't find it offensive.

Overall, as another reviewer has commented, this film is somewhat cold. Despite the powerful events that happen in the film, they don't really emotionally involve you as a viewer. The film almost feels like a parable rather than a 'realistic' story.

In summary, this is a gorgeous-looking film with an unusual subject matter, which is well worth watching.