"Gohatto" is set in mid-19th century Japan, among the Shinsengumi, a samurai militia created to uphold law and order and to defend the shogunate against reformist forces which sought to restore power to the Emperor. The central character is Sozaburo Kano, a teenage recruit to the force. Sozaburo is a beautiful young man, whose effeminate appearance inspires sexual desire among his comrades.
The film's title has been translated both as "Taboo" and "The Code", and refers to the strict code of discipline which prevailed among the samurai, severe violations of which could be punished by death. Despite the severity of the samurai code, however, homosexuality per se was not taboo, as it would have been in Western societies at this date. A British soldier of the Victorian era who had a sexual relationship with a comrade would have been liable to severe punishment and, at the very least, to dismissal from the Army in disgrace. In Japan, however, homosexual relationships among the samurai were tolerated. Sozaburo, however, poses problems for his superiors in that his quasi-feminine beauty leads to jealousies among the men and thereby endangers discipline. Although he is the central character, he is a passive one; the film is less about him than about the passions he unleashes, passions to which Sozaburo himself seems largely indifferent.
As a drama, "Gohatto" is not particularly interesting; my interest was held much more by its aesthetic aspects. To a Western audience, the film will seem strange and exotic, but its strangeness does not lie in flamboyance or showiness; indeed, I suspect that a Western film celebrating nineteenth-century gay life would be much more flamboyant in style. Rather, its strangeness lies in its austerity and restraint. The acting is deliberately stylised, almost ritualistic. The look of the film is also austere. It is set at the very end of what might be called the era of Old Japan. Although the 1850s and 1860s were the period when the Japanese were first starting to open their country up to the West, there is very little, if any, visual evidence of Western influence on show here. (Were the film to be set only a decade or two later, say around the time featured in "The Last Samurai", Western influences would have been much more visible).
Director Nagisa Ōshima's palette is a very limited one; the black and white of the samurais' uniforms, together with browns and greys. Bright colours are used very sparingly. Most of the film is set indoors, in traditional plain, sparsely furnished Japanese interiors. The result is an aesthetic which is austere, yet strangely beautiful- and also very masculine. Only briefly in the scene set in a brothel, where we see brighter colours and richer decoration, do we see a more feminine aesthetic. "Gohatto" can perhaps be thought of as an "art film" in the most literal meaning of the term, the sort of film where every shot seems to have been composed like a picture, and a work of icy, formal beauty. 7/10
The film's title has been translated both as "Taboo" and "The Code", and refers to the strict code of discipline which prevailed among the samurai, severe violations of which could be punished by death. Despite the severity of the samurai code, however, homosexuality per se was not taboo, as it would have been in Western societies at this date. A British soldier of the Victorian era who had a sexual relationship with a comrade would have been liable to severe punishment and, at the very least, to dismissal from the Army in disgrace. In Japan, however, homosexual relationships among the samurai were tolerated. Sozaburo, however, poses problems for his superiors in that his quasi-feminine beauty leads to jealousies among the men and thereby endangers discipline. Although he is the central character, he is a passive one; the film is less about him than about the passions he unleashes, passions to which Sozaburo himself seems largely indifferent.
As a drama, "Gohatto" is not particularly interesting; my interest was held much more by its aesthetic aspects. To a Western audience, the film will seem strange and exotic, but its strangeness does not lie in flamboyance or showiness; indeed, I suspect that a Western film celebrating nineteenth-century gay life would be much more flamboyant in style. Rather, its strangeness lies in its austerity and restraint. The acting is deliberately stylised, almost ritualistic. The look of the film is also austere. It is set at the very end of what might be called the era of Old Japan. Although the 1850s and 1860s were the period when the Japanese were first starting to open their country up to the West, there is very little, if any, visual evidence of Western influence on show here. (Were the film to be set only a decade or two later, say around the time featured in "The Last Samurai", Western influences would have been much more visible).
Director Nagisa Ōshima's palette is a very limited one; the black and white of the samurais' uniforms, together with browns and greys. Bright colours are used very sparingly. Most of the film is set indoors, in traditional plain, sparsely furnished Japanese interiors. The result is an aesthetic which is austere, yet strangely beautiful- and also very masculine. Only briefly in the scene set in a brothel, where we see brighter colours and richer decoration, do we see a more feminine aesthetic. "Gohatto" can perhaps be thought of as an "art film" in the most literal meaning of the term, the sort of film where every shot seems to have been composed like a picture, and a work of icy, formal beauty. 7/10