shinobirastafari

As you might expect from a director of Oshima's calibre, Gohatto was beautifully shot, with excellent composition, use of color, and editing. The few fight scenes are as gripping as those in any "chambara"-style samurai movie, but this really isn't that kind of movie.

The soundtrack is among Sakamoto Ryuichi's best, providing a low-key, eerie tone throughout. The effect helps to make the deliberate pacing of the movie haunting, rather than dull. (Implicit message, if you're looking for a fast-paced samurai adventure, look elsewhere.)

Gohatto really seems to be an atypical (though typical for Oshima, I suppose) "tweaking of the nose" to traditional themes within Japan's culture. In this case, introducing the contradiction of blatant (as opposed to latent) homosexuality within the hypermasculine culture of the late Tokugawa-era Shinsengumi.* (Oshima previously touched upon this issue in "Merry Mr. Christmas, Mr. Lawrence", in the context of the Japanese Imperial Army, but not as directly as with this film.)

Amidst the stunning sets, thoughtfully composed shots, atmospheric pacing, (and a couple of really taut sword-fighting sequences), however, it's a little hard to divine what story Gohatto is really trying to tell. Was it a typical "forbidden love" story? A comment on the bushido cult of spartan masculinity? A psychological profile of "evil" and "beauty"? Or is it just a revisionist, ironic upturning of the clichés surrounding the Shinsengumi? Was it meaningful that the "object of attraction" is portrayed as evil/heartless? If so, what was the meaning?

At any rate, I found myself asking these questions after having viewed Gohatto twice. (I guess that means it can't be all bad.) I feel like it's worth watching for the beauty of the cinematography and art direction, but not a whole lot else. Like a lot of Bertolucci films, Gohatto and other Oshima works feel more like an exercise in cinematography than storytelling. But hey, I *like* Bertolucci films!

And, while I'm at it, the acting, though capable, wasn't noteworthy. Some of the cast were clearly of inconsistent talent, and seem to have been cast for their "look" rather than their acting talents. (A notable exception was "Beat" Takeshi Kitano. It was fun to seem him in a period piece for once. However, like Harvey Keitel, Kitano is such a typecast character actor that it's hard to see him outside of his typical role without thinking of him as "that gangster guy".)

*Note for the uninitiated: the Shinsengumi were a band of assassins/hit men/enforcers established by the declining Tokugawa Shogunate to maintain the Shogunate's control over Japan from Edo(Tokyo), in the face of the rising power (and thus threat) of the Emperor and his supporters, based in Kyoto. The Shinsengumi have a morally ambiguous role in Japanese popular history and culture; much the same way as, perhaps, historical/legendary Western icons such as King Richard and his Crusaders, or Robin Hood and his Merry Men, or Jesse James and his crew, etc. In other words, whatever the righteousness of their historical role, there's no denying they make for great action cinema.

Hitokiri (which translates roughly as "assassination"), a/k/a "Tenchu" which translates roughly as "divine punishment") showcases Hideo Gosha at the top of his form. Do NOT miss this one, or Gosha's other classic, Goyokin! Hitokiri is not only one of Gosha's best films, it's one of the best "samurai/chambara" films ever made, and perhaps one of the best Japanese films ever exported.

Be warned, all of the intricate plot details in Hitokiri can be a little hard to follow for those unfamiliar with 19th century Japanese history. Even so, the underlying human drama is obvious to all viewers. As per the norm for Gosha, Hitokiri is yet another variation on his traditional theme of "loyalty to one's lord" vs. "doing the right thing". However, Gosha develops his favorite theme with such sophistication, that it's really _the_ movie to see (as a double-feature with Goyokin, of course!)

I suppose it breaks down like this: If you want a simpler, more action-oriented revenge tale, see Goyokin. However, if you want a more thoughtful, multilayered (albeit grim) historical drama, see Tenchu.

(OK, OK, essentially, Tenchu's historical backdrop is the massive power struggle between different samurai clans who are either (1) working to reform, yet preserve, the Tokugawa Shogunate, or (2) trying to install the Emperor Meiji as the supreme ruler of Japan. Of course, those clans working "for" Emperor Meiji were often less interested in "reforming" Japan than in ensuring their own clan more power in the "new world order". Ironically, the entire feudal system was officially abolished as one of the first reforms of the Meiji government. It's twists like this -- Gosha's big on irony -- that make the entire plot all the more bittersweet.)

What distinguishes "Hitokiri" from Gosha's other movies is Gosha's expert color cinematography. Every shot is thoughtfully composed, and (much like Kubrick's Barry Lyndon) each frame of the movie could hold its own as a still composition. Hitokiri really stands out with stunning backdrops, including(as with Goyokin) many riveting seascapes. Just watch the opening sequence, and you're hooked! Make no mistake, this is no Merchant-Ivory period piece: Hitokiri is extremely violent.

What else, other than cool camera work, makes Hitokiri stand out? The performances seem (to me) a bit more subtle in this one. Katsu Shintaro (of Zatoichi / Lone Wolf fame) turns in a star performance as the conflicted protagonist/antihero, Okada Izo. Katsu manages to instill humanity to a character that seems almost more wild animal than villain. Throughout the movie, you're never quite sure if you're engaged or revolted by Okada's character. At the same time, Katsu's portrayal of Okada's ravenous hunger for respect, and his later pathetic attempts at redemption, seem so human that you can't help but feel empathy/sympathy. Of course, after seeing Nakadai Tatsuya play the tortured hero in "Goyokin", it's great to see him play such a ruthless villain in "Hitokiri". He's just perfect, there's nothing more to say!

As a final note, perhaps more interesting to buffs than to casual fans, don't miss the last screen appearance of Mishima Yukio (yes, the closeted gay right-wing ultranationalist novelist who committed suicide by seppuku before the crowd of jeering Japanese military personnel he "kidnapped" in 1970, and had a movie on his life and work made by Paul Schrader), who actually does a pretty solid job of portraying the honorable (for an assassin) Shinbei Tanaka.

I wanted to like this one, but for a number of reasons, I just couldn't get into it. First of all, I'm not a big fan of the actor playing the hero -- perhaps its that he's missing an eye (at least, the character is), but he really doesn't put in a compelling performance, which is rare for a Gosha protagonist. The plot and theme are typical Gosha (lower-ranked samurai gets screwed by his conniving lord, and is now out for justice of his own devise), but it all feels a little half-hearted. Though there are some good examples of Gosha's camera work, he also seems to be trying a bit too hard with some shots, and not hard enough with others.

Finally, for an adventure/revenge story, this one just doesn't have a lot of "drive" to it. I kept waiting for the suspense to kick in, but it never did. I can't say that you should avoid this one, but I certainly can't recommend it to anyone who isn't already a fan of Gosha's work. If you want to see a couple of _great_ examples of Gosha's earlier B&W movies, see "Sanbiki no samurai" (his first movie) or "Kedamono no ken" (his second). If you're just looking for an introduction to Gosha (or chamabara movies), I'd start with Goyokin.