A MAN CALLED PIRATE / PIRATE CALLED MAN (LIT.) (KAIZOKU TO YOBARETA OTOKO). Viewed at CineMatsuri 2017. Cinematography = eight (8) stars; makeup = eight (8) stars; score = eight (8) stars; CGI/effects = seven (7) stars; subtitles/translations = seven (7) stars; sound = six (6) stars. Based on a recent best-selling Japanese historical novel, Director Takashi Yamazaki pulls out all the stops when delivering this patriotically flavored blockbuster and employing an ever-popular Japanese movie theme: the phoenix phenomenon following World War II. Yamazaki's photo-play is the story of "comeback kid" visionary entrepreneur Sazō Idemitsu, founder of Japanese oil company Idemitsu Kosan. Idemitsu was among the first to see the future of oil in the late Meiji Era. The entrepreneur built a business starting by selling (and personally delivering) cheaper fuel to small at-sea fishing boats prior to WW II (labeled an oil "pirate" by his greedy, seemingly overwhelming, and vengeful domestic cartel competition), lost just about everything during the war, and rebuilt his company despite seemingly overwhelming and vengeful domestic and international cartel competition plus the threat to his oil tankers by the British navy. (Idemitsu Kosan is currently the second largest petroleum refiner in Japan with a global reach.) The Director's oil-import drama (Japan has always had to import virtually all of its oil) focuses on a protagonist constantly challenged by seemingly hopeless circumstances, but always prevailing with unconventional and highly creative countermeasures including treating his employees as family members (imbibed with entrepreneurial spirit, he never gives up!). Yamazaki delivers a plethora of touching dramatic situations using flash-backs and flash-forwards (before and after the war) to build up suspense, since they are initially (and intentionally?) hard to follow. This includes sad events in the entrepreneur's private life (see below) and a teary bitter-sweet ending. The film is a bit on the long side and the Director overdoses on real/virtual waving crowd scenes and semi-patriotic singing. Yamazaki is also extremely dependent on CGI effects which range from the spectacular (like the opening scenes of the fire bombing of Tokyo) to the rather cheesy (the launching of the company's first oil tanker after the war). Acting is pretty much A-list quality all the way. Leading actor Junichi Okada plays Idemitsu over a seven-decade span of live with amazing results (and the help of talented makeup artists)! Actress Haruka Ayase's performance is brief, but pivotal as Idemitsu's first wife (who is unable to conceive an heir). She loves her former husband and is loved by him right up to the respective ends of their long separated lives (apparently adoption was not an option). Cinematography/projection (wide screen, DCP, color) and scene lighting are outstanding. Score is large-orchestra powerful, creative, and adds quite a wallop to the film. Subtitles are fine. Not all signs and other text are translated. Sound suffers from an anemic (if any?) surround field. No matter your political persuasion, this is a highly recommend film! WILLIAM FLANIGAN, PhD.
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