Aragami

Director Ryuhei Kitamura, now famous thanks to the big success of "Versus" and "Azumi", was challenged to make this experimental film in an odd bet with producer Shinya Kawai and fellow filmmaker Yukihiko Tsutsumi. Named the "Duel" project, Kawai challenged the two filmmakers to each create a feature length movie with only two actors, battling in one setting and filmed entirely in one week. With those restrictions limiting the development of a film, a challenge like that sounds insane; but Kitamura succeeds and delivers a film of almost the same caliber as "Versus".

In Kitamura's film, two wounded samurais arrive to a lost temple in the mountains looking for a place to rest. Later, one of them awakes fully healed and is welcomed by the only priest in the temple. He introduces himself as Aragami (Masaya Kato), the God of Battle, and informs the samurai (Takao Osawa) that he healed his wounds, but had to kill his companion to do it. His purpose: to have a duel to death with the samurai.

The movie moves around the showdown, not only physical, but also philosophical between these two warriors; with fluid camera-work that mimics the style of Manga comic books, Kitamura keeps the film moving despite being set entirely in the main room of the temple. This stylish use of the camera really is one of the film's strongest points, as it makes the set look different even when they never change of room.

The characters are very well defined and thanks to a very good developed script, they never let the movie fall. Just like the visuals, the writing is very similar to those of Manga, and one could say that this is exactly how a Manga would look if it were translated frame by frame to screen. While at times the movie drags, it is understandable that a lot of effort was put to make it entertaining even when it's only about two people talking and fighting.

Masaya Kato gives a powerful performance as Aragami, a being beyond man's understanding and with fighting skills perfected through centuries of practice. He really becomes his character and truly makes one belief that he has seen a lot in his life. At the same time, Osawa is very good as the samurai, confused by all what is happening and whose only desire is to get out of the temple alive. Both actors excel in their performances, specially considering the limited freedom they had to work with. In fact, it is thanks to their performances that the script makes the the movie work.

The visual beauty of the duel between the warriors is another one of the movie's strong points. Kitamura knows very well how to put action on films as fans of "Versus" will acknowledge. In "Aragami", he mixes the old with the modern in a stylish surrealist duel that mimics the fight between the two samurais. However, if a flaw is to be found, is that the use of modern music at times contrasts with the intentions of the film, nevertheless, it never becomes a real problem.

While "Aragami" is nowhere near what Kitamura accomplished with the outstanding "Azumi", it still is a very good and different movie that shows the creativity of this director; that he is not afraid of taking risks; and that in fact, like the raging God of Battle, he enjoys a good challenge. 7/10

The greatest scene you can have in any movie is the final showdown. That last moment, when all the events that have happened throughout the entire film (or films) come together in one glorious climatic battle between the hero and the villain. As a great lover of the final showdown I am disappointed that so few films actually get it right. Films like "Yojimbo", "Dark City", and "The Good, The Bad, and The Ugly" are among those rare exceptions when the level of build-up is more than matched by the moment of confrontation.

Then there's Aragami, which is essentially one long final showdown. And what an incredible showdown it is. I loved Kitamura's previous film, Versus, for it's none stop excitement and entertainingly over-the-top violence. But Aragami is simple, two characters in a room who must and will fight to the death. This

scenario may not seem compelling, but Kitamura somehow manages to keep

the energy buried just beneath the surface of all the character's actions. I felt tense throughout the entire film. I wanted to see the two men fight. But Kitamura kept me waiting for as long as possible, until it was almost to much to take. Then, he delivered on his promise and created one of the most exciting and

thoroughly satisfying showdowns I know of. Much like when I saw Versus, I left the theater energized, unlike most American action films, which just leave me feeling exhausted and worn-out.

When both Ryuhei Kitamura and Yukihiko Tsutsumi finished their short films for the Jam anthology early, their producer gave them something new to try. In the space of one week they were each to produce a film, using only two man characters, one location and it had to be focused around a fight. This was called the "Duel" project.

Kitamuras film was "Aragami". The title meaning "fierce deity", and the story revolving around a demon who seeks an opponent who can beat him in combat, taking a wounded samurai in and healing him so that they can face of in a climatic battle. The story, essentially being a simple good versus evil affair was very well done. At times it's hard to tell if one of them is evil, or if they both are in fact evil. And there are enough plot twists to keep your attention throughout this whole suspense filled feature.

Try as I might, I find it almost impossible to find anything to complain about with this film, it really is something amazing. It's a very atmospheric film. Kitamura makes excellent use of light to make the temple look suitably dark and mysterious. From flickering candle light, to eerie purple light flooding in from the night outside, to breath taking lighting that gleams from swords classing in the dark. "Aragami" is a very beautifully shot film, with excellent use of camera angles and not just during the fight scenes. But he made superb use of it to highlight both characters persona throughout.

The use of music was also really well done in this film. At times it heats up the action speeding your heartbeat, at other times it helps establish a more calm mood. During the final battle the use of sound makes it seem like we are almost on a roller coaster. The protagonists feelings of suspicion at the beginning is not only conveyed through acting, but through the music that accompanies his realisations. The use of music is possibly most notable when it helps reinforce the almost friendship that the two of them forge over their drinks and conversation.

Both of the main characters were very well acted, which for some reason I was surprised at. Perhaps it was the depth of the acting that did it for me. Or how quickly they were able to change the mood, and focus of the conversation. At one point the Aragami seems very evil and dark, but in a matter of a few words the focus is shifted onto the protagonist, making him appear as a cold and heartless monster. This was very well done, and very believable. You really get the feeling that the Aragami is bored, ancient and somewhat noble.

The only problems I can find with this film, is that it does have an incredibly slow pace up until the much anticipated climatic battle. Perhaps this was intentional, as to make us more desperate to see them tear into each other but I felt it wasn't very well done. For most of the film the two of them are just sitting there talking over drinks, and while this is well acted there isn't enough action to excite us until the finale.

Kitamura teases us with a little bit of a fight early one, but it's not until the end that we finally see one of his trademark epic battles. Which in itself could have been better, it wasn't as fast as his other films. Perhaps due to the "Anime" posing the characters did while the talked to each other during the fight. If they had just tore into each other in a brutal show of skill the film would have been so much better.

Some slight issues with the pace of the movie, but in all a very well made and entertaining film. And for anyone who has seen "Versus", you're bound to chuckle a little when you see the ending.

8.5/10

I have to hand it to producer Kawai Shinya, he had a brilliant idea. It's the sort of unconventional if not outright innovative challenge that modern cinema desperately needs more of: giving filmmakers a small prompt and a tight set of conditions by which to make a full-length feature. In the case of Kitamura Ryuhei, that challenge - two actors, one setting, one week to shoot and wrap - resulted in this chanbara contribution to Kawai's "Duel Project," replete with elaborate costumes, set design, and even hair and makeup. That's certainly in keeping with what I've seen of Kitamura's other Japanese films, connoting a propensity for being Extra (see also 'Azumi,' and 'Godzilla: Final wars'), and surely extends even to the man's direction, and to choices of lighting and cinematography, and definitely to considerable post-production embellishments and use of pathetic fallacy. As the minutes tick by the indulgence only becomes more apparent, not least as dialogue alone fills a surprising amount of the length, and further includes Morino Nobuhiko's music of electronic beats and electric guitar, the editing, and the script that Kitamura penned with Takatsu Ryuichi.

All this is to say that even under the boundaries suggested by Kawai, 'Aragami' undeniably remains Kitamura's brainchild. To be honest, in this case I could have done with a build that was more direct and to the point, significantly cutting back on the excess and giving the filmmaker and his style even stricter guidelines. It's not that there aren't worthy thoughts in that surprising amount of dialogue that fills a full two-thirds of the runtime, but with all due respect, Kitamura isn't a director who can achieve success with the ostensibly ruminative drama of straight conversation. What might theoretically be more pensive, or at least more interesting, and carry more weight under the auspices of a master like Kobayashi Masaki, Inagaki Hiroshi, or Yamada Yoji, instead feels cheeky, playful, and far less than serious, more closely resembling Miike Takashi, or - dare I say it - the 'Mortal Kombat' flicks of the 90s. There's nothing wrong with that, nor with trying one's hand at something different, but as the majority of this small movie is one of dialogue and not action, or more generally something well suited to stylization, a director who almost exclusively operates in genre fare struggles to make that dialogue work.

And the simple fact of the matter is that while the notion set forth by Kawai is very clear, Kitamura's concept nevertheless withholds satisfaction of it for an awfully long time, without much to truly show for it up to that point. With all this said, the long-awaited duel to come in the last third is pretty swell, with sharp stunts and choreography, and some nice little touches throughout and even leading up to it. I don't know if the final moments at the end were necessary, but they are also well in keeping with what Kitamura has done elsewhere. I can't say that 'Aragami' isn't duly well made, with fine contributions from all all involved, cast and crew alike. I appreciate what the filmmaker wanted to do here. I'm just not convinced that he was the man for the job; either his screenplay needed to be more trim and action-oriented to suit his strengths, or another filmmaker should have undertaken direction in his stead. We get what we came for, ultimately, and I do like this title. For something light and fairly short, I'd happily give it a soft recommendation. I just also easily recognize its shortcomings, however, and given the nature of Kawai's challenge, maybe those shortcomings are all the more glaring in turn. Check it out if you like, and have fun with it, and I especially commend all those who specifically lent to the action - but don't go out of your way for it, and in saving it for a quiet day with tempered expectations, maybe that's the best way to get the most out of 'Aragami.'

I Love this movie. The story was a bit confusing but either then that the movie was near perfect.

The action was very well choreographed and was not Very over the top like MGSTTS but it was still Over the top action considering how Samurai Films are made nowadays.

There was this one part that amazed me were the Temple was all dark and all you can see of them was when the swords collide that was sooo coool. And i love the soundtrack. If you loved the soundtrack from all his other movies then you would love this soundtrack.