56 reviews
Oshima's first film in 14 years after illness was apparently directed from a wheel chair, and it's tempting to locate some of its static, formal qualities in the personal restrictions faced by the director. But this cool, intense, and very Japanese piece is stylistically rooted in the country's cinematic past, while at the same time offering provocative work familiar characteristic of this director. In his most famous film, Realm Of The Senses (aka: Ai No Corrida), made 25 years ago, dangerous sexual activity was explicit. In Gohatto (trans: Taboo), things are far less in the open. The expression of sex has been replaced with its obsession although, for Oshima, the irrationality of arousal still remains anti-authoritarian, as it creates impulses that are hard to resist.
For those more used to the straight samurai of old, Oshima's suggestions of cuddles beneath the kimono is a surprise (more outrage was generated in Japan, where it was felt more strongly that such suggestions ran against a proud tradition). One can never imagine stouthearted Toshiro Mifune, the most famous cinematic samurai from the previous generation, falling for another soldier and interrupting his role in Seven Samurai for a romp in the dojo. Cult actor/director 'Beat' Takeshi, here playing Captain Toshizo Hijikata, seems at first sight an odd choice for this sort of drama too, until one remembers the gay gunman he played so convincingly in Takashi Ishii's Gonin (1995). With his impassive face he reduces introspection to the reoccurring flicker of his (real life) tic, which, most aptly here, can suggest everything and nothing. Hijikata's internal narrative, first quizzical about Sozabura's lovers then perturbed about his effect on the garrison, suggests growing doubts resolved only in the final, memorable scene.
In Gohatto, much of the interest of the film lays in the degree in which Sozaburo's beauty arouses the interest of the men around him. Some are openly attracted to him (notably Tashiro, who shortly attempts to climb into the bed with him). Others are on the edge, like Inspector Yamazaki, charged with taking him to the brothel in Shimabara to introduce the youth to women. Most are affected in one way or another; most enigmatically are Hojikata and his superior and close colleague Commander Kondo (Yoichi Sai). As Hojikata observes, "a samurai can be undone by a love of men." But then he wonders too "Why are we both so indulgent with Sozabura?" and Kondo's rectitude and conspicuous silence hides, we suspect, a greater interest in the youth than he might wish to admit.
Oshima's visual scheme creates a film full of the bare, dark wood interiors of the militia base and the mud brown of uniforms, where just a few significant colours stand out. During the early beheading of the renegade samurai by Sozabuta, it is the red splash of the executed man's blood. At other times, Sozabuta wears a unique white robe (the Japanese colour of death). His is a presence and beauty shortly associated with a form of annihilation. In a place full of military men, that we see this feminine youth kill most often is no surprise. Compared to his contemporaries, he is the most adept at the sword unless fazed by romantic entanglements. It's an obvious irony that the object of homosexual affection is also the most deadly of the men; there's more in the fact that a group of iron-hearted soldiers can be so easily divided by an 'enemy' within, one neither fierce nor commanding.
There's another mystery in Gohatto, besides who exactly is sleeping with Sozabuta and who wants to. It's who is the murderer of Yuzawa (Tomorowo Taguchi), and doubts as to the truth of the case persist. This, and the attempt to apprehend the intruders at the base ("they call these samurai?") provide the main impetus of the plot. Like so many great Japanese films of the past, Oshima's says a lot in restraint. Here the arrangement of seated figures within the frame can suggest unspoken tensions, order is paramount, and the use of the camera is elegant and discreet. Some see the resulting style dull, when it is a slower, more contemplative way of seeing the world, one where not every question is answered.
What exactly is 'taboo' in Gohatto is clearly the issue of homosexuality - although confusingly for Western audiences such matters are not explicitly forbidden. Reference is made to the military code, which hangs on the barrack walls. Extracts appear on screen too, but no mention is made of prohibiting gay relations between soldiers. A man may be beheaded for illicitly borrowing money, but sleeping with his comrades at arms, while gossip worthy, is only really of concern when discipline is threatened. There "no secrets on Heaven and Earth (and) everyone knows it," says one of the intertitles, and Hojikata himself refers to the "tacit understanding" which normally keeps things in check. A policy which roughly equates to the modern American army's own "Don't ask, don't tell."
The film is helped immensely by Ryuichi Sakamoto's incessant, metronomic score, the steady beat of which considerably amplifies the obsessions and drawn out tensions of events. Like Oshima's interiors, it is uncluttered music, the muted colours dashed with an occasional significant tone. Now and again, urgency and violence break into this world: the initial beheading scene, the murderer's attacks, or the sword battle by the river. As a package, the result readily deserves art house admirers - especially as the director saves the best scene for last, expressing both Hojikata's final position, and a main thread of Gohatto, with hardly a cut more than necessary. Recommended.
For those more used to the straight samurai of old, Oshima's suggestions of cuddles beneath the kimono is a surprise (more outrage was generated in Japan, where it was felt more strongly that such suggestions ran against a proud tradition). One can never imagine stouthearted Toshiro Mifune, the most famous cinematic samurai from the previous generation, falling for another soldier and interrupting his role in Seven Samurai for a romp in the dojo. Cult actor/director 'Beat' Takeshi, here playing Captain Toshizo Hijikata, seems at first sight an odd choice for this sort of drama too, until one remembers the gay gunman he played so convincingly in Takashi Ishii's Gonin (1995). With his impassive face he reduces introspection to the reoccurring flicker of his (real life) tic, which, most aptly here, can suggest everything and nothing. Hijikata's internal narrative, first quizzical about Sozabura's lovers then perturbed about his effect on the garrison, suggests growing doubts resolved only in the final, memorable scene.
In Gohatto, much of the interest of the film lays in the degree in which Sozaburo's beauty arouses the interest of the men around him. Some are openly attracted to him (notably Tashiro, who shortly attempts to climb into the bed with him). Others are on the edge, like Inspector Yamazaki, charged with taking him to the brothel in Shimabara to introduce the youth to women. Most are affected in one way or another; most enigmatically are Hojikata and his superior and close colleague Commander Kondo (Yoichi Sai). As Hojikata observes, "a samurai can be undone by a love of men." But then he wonders too "Why are we both so indulgent with Sozabura?" and Kondo's rectitude and conspicuous silence hides, we suspect, a greater interest in the youth than he might wish to admit.
Oshima's visual scheme creates a film full of the bare, dark wood interiors of the militia base and the mud brown of uniforms, where just a few significant colours stand out. During the early beheading of the renegade samurai by Sozabuta, it is the red splash of the executed man's blood. At other times, Sozabuta wears a unique white robe (the Japanese colour of death). His is a presence and beauty shortly associated with a form of annihilation. In a place full of military men, that we see this feminine youth kill most often is no surprise. Compared to his contemporaries, he is the most adept at the sword unless fazed by romantic entanglements. It's an obvious irony that the object of homosexual affection is also the most deadly of the men; there's more in the fact that a group of iron-hearted soldiers can be so easily divided by an 'enemy' within, one neither fierce nor commanding.
There's another mystery in Gohatto, besides who exactly is sleeping with Sozabuta and who wants to. It's who is the murderer of Yuzawa (Tomorowo Taguchi), and doubts as to the truth of the case persist. This, and the attempt to apprehend the intruders at the base ("they call these samurai?") provide the main impetus of the plot. Like so many great Japanese films of the past, Oshima's says a lot in restraint. Here the arrangement of seated figures within the frame can suggest unspoken tensions, order is paramount, and the use of the camera is elegant and discreet. Some see the resulting style dull, when it is a slower, more contemplative way of seeing the world, one where not every question is answered.
What exactly is 'taboo' in Gohatto is clearly the issue of homosexuality - although confusingly for Western audiences such matters are not explicitly forbidden. Reference is made to the military code, which hangs on the barrack walls. Extracts appear on screen too, but no mention is made of prohibiting gay relations between soldiers. A man may be beheaded for illicitly borrowing money, but sleeping with his comrades at arms, while gossip worthy, is only really of concern when discipline is threatened. There "no secrets on Heaven and Earth (and) everyone knows it," says one of the intertitles, and Hojikata himself refers to the "tacit understanding" which normally keeps things in check. A policy which roughly equates to the modern American army's own "Don't ask, don't tell."
The film is helped immensely by Ryuichi Sakamoto's incessant, metronomic score, the steady beat of which considerably amplifies the obsessions and drawn out tensions of events. Like Oshima's interiors, it is uncluttered music, the muted colours dashed with an occasional significant tone. Now and again, urgency and violence break into this world: the initial beheading scene, the murderer's attacks, or the sword battle by the river. As a package, the result readily deserves art house admirers - especially as the director saves the best scene for last, expressing both Hojikata's final position, and a main thread of Gohatto, with hardly a cut more than necessary. Recommended.
- FilmFlaneur
- Oct 24, 2006
- Permalink
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.
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.
Ïn 1865, in Kyoto, in a period of fights among different clans, Sozaburo Kano (Ryuhei Matsuda) and Hyozo Tashiro (Tadanobu Asano) join a samurai legion to be trained as warriors. The beauty of the manipulative Kano sexually attracts the other men, including high ranking commanders, and he becomes lover of Tashiro.
"Gohatto" is a weird movie for westerns like me, who are not familiarized with Japanese culture. However, it is a beautiful movie, with a stunning music score and a wonderful photography. Although I have not completely understood the plot, specially the conclusion of the story, I found this movie very intriguing and I liked it. My vote is seven.
Title (Brazil): "Tabu" (Taboo")
"Gohatto" is a weird movie for westerns like me, who are not familiarized with Japanese culture. However, it is a beautiful movie, with a stunning music score and a wonderful photography. Although I have not completely understood the plot, specially the conclusion of the story, I found this movie very intriguing and I liked it. My vote is seven.
Title (Brazil): "Tabu" (Taboo")
- claudio_carvalho
- Aug 13, 2005
- Permalink
"Gohatto" ("Taboo") is a fascinating film about the danger of beauty : to sum it up, a young "ephebe"'s ethereal beauty spreads like a plague, infecting a whole company of iron hard men in the process. As you must know by now, Oshima tackles in this film the forbidden subject of homosexuality among Samurais.
The movie's premise -and this is a bit of an understatement...- unleashed controversies and protests, in some Japanese traditional quarters : "taboo" indeed (-What about American cowboys, too ? Officially all white heterosexuals ? Yeeeah, right...) But I would argue that, somehow, the "homosexual act" itself is not the film's core subject : its characters discuss it quite openly; we are nowhere near the sniggering comedies of the West, the politically correct heavy handed lessons of Hollywood, or the louche coded homoerotic European art films. This ...is a Japanese movie : about beauty vs. discipline; self-denial and ideals; internal conflict and tragic resolution. Homosexuality here does not equate limp wristed / camp / victimised diffidence and other suchlike cliches -from the start, we are shown that Kano is a ruthless killer, and a master swordsman.
What disturbs, and gradually destroys, the supremely rigid order of the Samurai militia is Kano's personal aura, his -apparent !- frailty, this unnerves these iron hard warriors, the story of which is cleverly presented in a two-pronged attack by Nagisa Oshima.
On one hand, the master director plays it seriously, insisting on very static set pieces (where seated, immobile, Samurais discuss sex and murder without flinching); on the other, Oshima introduces elements of pure comedy....The name Shakespeare crops up (more about that later).
Firstly, this is a very formal film : static, slow, constructed, well-defined, about structures to be respected upon penalty of death, codes of honour (such as sexual : official initiation by geishas; or ethical : no betrayal of the group), hierarchical ("Which school do you belong to ?" they ask of each other), etc.. In a weird way, Takeshi's own facial half-paralysis serves the purpose of the film. Not to mention Kano's immaculate white attire, as opposed to the black armours all around.
But on the other hand, there are elements of comedy. The old unassuming guy who Kano meets turns out to be an officer ...and also a clumsy swordsman (joke fight scene), the colossus assigned to take the youth to a brothel sends the wrong signal ("-Er... don't !" he reminds himself), and so on. After a while, the story almost turns into a "whoddunit", except this time it's physical attraction we're talking about : which one of these hard men, beneath the surface, has not secretly fallen for Kano ?
I mentioned Shakespeare earlier : I saw this film with some Japanese young ladies, who confessed afterwards that , without the subtitles, they wouldn't have understood the language : old Japanese. But I am also thinking of the juxtaposition of levels : comedy and drama, love and ethics, saucy overtones, ...and the ineluctability of tragedy to unfold. It's pretty clear that the alleged lover, Tashiro, is not in fact, and that he will serve the hand of fate : sublime last scenes.
Finally, for all lovers of Japanese cinema, it's fun to spot Takeshi's mates, who usually feature in his trademark ultra-violent, Zen nihilistic, gangster movies : they're all here, under various fabulous wigs.
If you liked this film, you'll love Claire Denis's "Beau Travail", that was the best film of 2000.
The movie's premise -and this is a bit of an understatement...- unleashed controversies and protests, in some Japanese traditional quarters : "taboo" indeed (-What about American cowboys, too ? Officially all white heterosexuals ? Yeeeah, right...) But I would argue that, somehow, the "homosexual act" itself is not the film's core subject : its characters discuss it quite openly; we are nowhere near the sniggering comedies of the West, the politically correct heavy handed lessons of Hollywood, or the louche coded homoerotic European art films. This ...is a Japanese movie : about beauty vs. discipline; self-denial and ideals; internal conflict and tragic resolution. Homosexuality here does not equate limp wristed / camp / victimised diffidence and other suchlike cliches -from the start, we are shown that Kano is a ruthless killer, and a master swordsman.
What disturbs, and gradually destroys, the supremely rigid order of the Samurai militia is Kano's personal aura, his -apparent !- frailty, this unnerves these iron hard warriors, the story of which is cleverly presented in a two-pronged attack by Nagisa Oshima.
On one hand, the master director plays it seriously, insisting on very static set pieces (where seated, immobile, Samurais discuss sex and murder without flinching); on the other, Oshima introduces elements of pure comedy....The name Shakespeare crops up (more about that later).
Firstly, this is a very formal film : static, slow, constructed, well-defined, about structures to be respected upon penalty of death, codes of honour (such as sexual : official initiation by geishas; or ethical : no betrayal of the group), hierarchical ("Which school do you belong to ?" they ask of each other), etc.. In a weird way, Takeshi's own facial half-paralysis serves the purpose of the film. Not to mention Kano's immaculate white attire, as opposed to the black armours all around.
But on the other hand, there are elements of comedy. The old unassuming guy who Kano meets turns out to be an officer ...and also a clumsy swordsman (joke fight scene), the colossus assigned to take the youth to a brothel sends the wrong signal ("-Er... don't !" he reminds himself), and so on. After a while, the story almost turns into a "whoddunit", except this time it's physical attraction we're talking about : which one of these hard men, beneath the surface, has not secretly fallen for Kano ?
I mentioned Shakespeare earlier : I saw this film with some Japanese young ladies, who confessed afterwards that , without the subtitles, they wouldn't have understood the language : old Japanese. But I am also thinking of the juxtaposition of levels : comedy and drama, love and ethics, saucy overtones, ...and the ineluctability of tragedy to unfold. It's pretty clear that the alleged lover, Tashiro, is not in fact, and that he will serve the hand of fate : sublime last scenes.
Finally, for all lovers of Japanese cinema, it's fun to spot Takeshi's mates, who usually feature in his trademark ultra-violent, Zen nihilistic, gangster movies : they're all here, under various fabulous wigs.
If you liked this film, you'll love Claire Denis's "Beau Travail", that was the best film of 2000.
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.
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.
"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
- JamesHitchcock
- Apr 14, 2009
- Permalink
Even after seeing this movie more than 20 times it still draws me in. Some of the best actors in Japan take part in this flim, most noticeable is Beat Takeshi. The story line is simply jaw dropping. This is the type of film that Hollywood probably wouldn't even dare make. To me the subject matter isn't shocking, but I've spent time in Japan and studied their language and culture extensively, but some people are offended by this. Simply because they cannot get past the little detail that these strong, powerful men can have gay tendencies.
The movie follows Kano Sozaburo as he joins the Shinshigumi (feudal era police). (Also not here that most of the main characters, except Kano and Tashiro are based off actual historical/famous people.) As Kano joins the rank, his beauty and sword skill captivate the men around him, from the other new recruit to the top ranking officers. Suddenly people begin to die, murdered in the night. Any more will give away the story.
IF you get the chance to see this movie do. For some it may be hard to get all the details and understand the little intricacies involved, and the ending may confuse some (especially if you are just going off what the subtitles say). But give it a chance, it's a wonderful film, but not for everyone (and not for the whole family ;)
The movie follows Kano Sozaburo as he joins the Shinshigumi (feudal era police). (Also not here that most of the main characters, except Kano and Tashiro are based off actual historical/famous people.) As Kano joins the rank, his beauty and sword skill captivate the men around him, from the other new recruit to the top ranking officers. Suddenly people begin to die, murdered in the night. Any more will give away the story.
IF you get the chance to see this movie do. For some it may be hard to get all the details and understand the little intricacies involved, and the ending may confuse some (especially if you are just going off what the subtitles say). But give it a chance, it's a wonderful film, but not for everyone (and not for the whole family ;)
- chi_na_hime_chan
- Aug 7, 2003
- Permalink
This is an unusual and moving film that deals with the subject of homosexuality amongst the Samurai of the Shinsengumi militia at the end of the Samurai period of the 1860s. The arrival of a young and beautiful trainee Samurai played by newcomer Ryuhei Matsuda sparks off a tale of jealousy and murder where everyone begins to suspect everyone else of the homosexual taboo. Both sides of the subject are explored in depth, Director Nagisa Oshima (best known for the infamous Ai No Corrida) deftly handles both the homophobic and homoerotic themes without resorting to any graphic or cliched images.
The acting is superb throughout, but once again it is the star, Beat Takeshi, who really shines. For once he plays a very likeable and fatherly character, second in command of their unit. Instead of the frightening intensity that he brings to the cops and criminals that he is best known for, here we see a different side of him; his character is caring and kind and with a sense of humour.
Whilst no Samurai film would be complete without some swordplay, this is not an action film. There are some scenes of training with Shinai (bamboo swords) and one brief battle scene against a rival clan. But what there is, is dynamic and fast and concentrates on realism. Even Beat Takeshi gets to wield a sword and acquits himself admirably, once again showing his versatility as an actor. Whilst this film may not be to everyone's taste, Beat Takeshi fans will get a great deal from his performance.
The acting is superb throughout, but once again it is the star, Beat Takeshi, who really shines. For once he plays a very likeable and fatherly character, second in command of their unit. Instead of the frightening intensity that he brings to the cops and criminals that he is best known for, here we see a different side of him; his character is caring and kind and with a sense of humour.
Whilst no Samurai film would be complete without some swordplay, this is not an action film. There are some scenes of training with Shinai (bamboo swords) and one brief battle scene against a rival clan. But what there is, is dynamic and fast and concentrates on realism. Even Beat Takeshi gets to wield a sword and acquits himself admirably, once again showing his versatility as an actor. Whilst this film may not be to everyone's taste, Beat Takeshi fans will get a great deal from his performance.
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.
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.
Oshima's last film to date is only the fourth of his that I've watched - following IN THE REALM OF THE SENSES (1976), EMPIRE OF PASSION (1978) and, more recently while in Hollywood, DEATH BY HANGING (1968) - and it's arguably one of his strongest and most compelling efforts, proving that his considerable talent didn't dissipate with the passage of time.
As is the director's fashion and, indeed, the title itself would suggest, the film treats the controversial issue of homosexuality in a school for samurai during the 1900s. Thankfully, though, there's no graphic display of sexuality here - as was the case with the pornographic REALM; what we do get, however, is an exquisitely photographed recreation of the period (utilizing red and blue filters for maximum effect), set to a simple but evocative score from Ryuichi Sakamoto.
The cast is surprisingly headed by Takeshi Kitano under his acting nom-de-plume of "Beat" Takeshi and, as always, he delivers a quietly impressive performance; the fight scenes, while not particularly spectacular apart from a couple of bloody beheadings, create the required tension and certainly keep one watching. The latter stages of the film, which involves a hunt for the serial killer of homosexual samurai(!), provide a welcome touch of mystery and lead to an unexpected but wholly satisfying conclusion.
As is the director's fashion and, indeed, the title itself would suggest, the film treats the controversial issue of homosexuality in a school for samurai during the 1900s. Thankfully, though, there's no graphic display of sexuality here - as was the case with the pornographic REALM; what we do get, however, is an exquisitely photographed recreation of the period (utilizing red and blue filters for maximum effect), set to a simple but evocative score from Ryuichi Sakamoto.
The cast is surprisingly headed by Takeshi Kitano under his acting nom-de-plume of "Beat" Takeshi and, as always, he delivers a quietly impressive performance; the fight scenes, while not particularly spectacular apart from a couple of bloody beheadings, create the required tension and certainly keep one watching. The latter stages of the film, which involves a hunt for the serial killer of homosexual samurai(!), provide a welcome touch of mystery and lead to an unexpected but wholly satisfying conclusion.
- Bunuel1976
- Mar 31, 2006
- Permalink
If you're going to make a samurai film, I propose that you should have either 1. an engaging plot with interesting characters or 2. lots of wicked-cool sword fights (or ideally, both). Gohatto has neither. What it does have is cool outfits, and lots of men looking at each other longingly (both of which would be fine, if it also had either of the two criteria listed above).
After seeing this movie and `Collage of our Life' in one weekend, I'm starting to rethink by formerly high opinion of Ryuhei Matsuda. Though it could just be the lukewarm performance by everyone else make his trademark 'malaise' outright bland. Even Beat Takeshi, who I thought would be perfect as Hijikata, looked like he couldn't care less about what was going on. Just about the only character that has any personality is Tashiro (Tadanobu Asano), who disappears for about 2/3 of the film. Everyone else is either a flat caricature (Okita smiles a lot, Inoue is old and inept), or just plain flat. Most of the film could have been done with finger puppets to similar effect.
The plot is just as one-dimensional. The whole story takes place during the Bakamatsu, one of the most interesting episodes in Japanese history. Does Oshima use this fascinating period as a poignant backdrop for his drama, or at the very least an excuse for overdone swordfights to disguise the lack of a plot? No, we get these guys sitting around, making contrived references that sound like they're dictating footnotes for a history textbook. Other than that, the bloody struggle to determine the future of Japan is totally irrelevant to the plot. It could have taken place at an open minded country club.
There isn't so much plot development as 'stuff happens'. There a guy, and someone dies, and there's this other guy, then it snows, and they have dinner quote history texts, and pine over the pretty-boy. These haphazard events are tied together by such brilliant transitions as a black screen with the words `Meanwhile' `One month later' `patience is rewarded'. Wow, riveting stuff. Why is Kano-the-cute such an efficient killing machine? What does he have against women? How does that life threatening head wound heal without even a scab? Who knows? There was one moment near the end when I went 'Oh, that's kind of interesting,' and even that little twist wasn't a big surprise.
I'd have no problem with a low key, psychological take on the Bakamatsu, or homoeroticism among the Samurai, if there was even one character in the whole movie I could have cared less about. And even the homosexuality is lukewarm ('Gee. I like the pretty-boy, gosh darn it'). On the other hand, the swordplay is beautiful (in a somewhat authentic way, not a Ryuhei 'Versus' Kitamura bloodfest way), as are the swords themselves (if you're into that kind of thing), but they're too few an far between to cover for the flimsy story. So there's really no reason to see this film at all, no matter what kind of movies you like. Unless you have a major interest in costuming and set design, or simply must see some samurai manlove.
After seeing this movie and `Collage of our Life' in one weekend, I'm starting to rethink by formerly high opinion of Ryuhei Matsuda. Though it could just be the lukewarm performance by everyone else make his trademark 'malaise' outright bland. Even Beat Takeshi, who I thought would be perfect as Hijikata, looked like he couldn't care less about what was going on. Just about the only character that has any personality is Tashiro (Tadanobu Asano), who disappears for about 2/3 of the film. Everyone else is either a flat caricature (Okita smiles a lot, Inoue is old and inept), or just plain flat. Most of the film could have been done with finger puppets to similar effect.
The plot is just as one-dimensional. The whole story takes place during the Bakamatsu, one of the most interesting episodes in Japanese history. Does Oshima use this fascinating period as a poignant backdrop for his drama, or at the very least an excuse for overdone swordfights to disguise the lack of a plot? No, we get these guys sitting around, making contrived references that sound like they're dictating footnotes for a history textbook. Other than that, the bloody struggle to determine the future of Japan is totally irrelevant to the plot. It could have taken place at an open minded country club.
There isn't so much plot development as 'stuff happens'. There a guy, and someone dies, and there's this other guy, then it snows, and they have dinner quote history texts, and pine over the pretty-boy. These haphazard events are tied together by such brilliant transitions as a black screen with the words `Meanwhile' `One month later' `patience is rewarded'. Wow, riveting stuff. Why is Kano-the-cute such an efficient killing machine? What does he have against women? How does that life threatening head wound heal without even a scab? Who knows? There was one moment near the end when I went 'Oh, that's kind of interesting,' and even that little twist wasn't a big surprise.
I'd have no problem with a low key, psychological take on the Bakamatsu, or homoeroticism among the Samurai, if there was even one character in the whole movie I could have cared less about. And even the homosexuality is lukewarm ('Gee. I like the pretty-boy, gosh darn it'). On the other hand, the swordplay is beautiful (in a somewhat authentic way, not a Ryuhei 'Versus' Kitamura bloodfest way), as are the swords themselves (if you're into that kind of thing), but they're too few an far between to cover for the flimsy story. So there's really no reason to see this film at all, no matter what kind of movies you like. Unless you have a major interest in costuming and set design, or simply must see some samurai manlove.
- kurai_hisui
- Dec 30, 2003
- Permalink
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.
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.
- politic1983
- Dec 11, 2020
- Permalink
This film has some promise at the beginning but doesn't deliver on it.
It starts with hints that the main character has hidden motivations and is playing a deeper game than we are being shown.
Kano seems to be hiding the extent of his abilities and his motivation for joining the militia, and then it just stops, these themes aren't really advanced any further.
The plot just peters out without resolving anything or going anywhere.
It is well acted and extremely stylish and the ending is good in a way but it just seems like there should have been more too it, I just found it boring and pointless.
It starts with hints that the main character has hidden motivations and is playing a deeper game than we are being shown.
Kano seems to be hiding the extent of his abilities and his motivation for joining the militia, and then it just stops, these themes aren't really advanced any further.
The plot just peters out without resolving anything or going anywhere.
It is well acted and extremely stylish and the ending is good in a way but it just seems like there should have been more too it, I just found it boring and pointless.
- imdb-19548
- Oct 31, 2007
- Permalink
Let me just say I had absolutely no idea what this movie was about, before I watched it. It was rather surprising to find out this was being an old fashioned, slower type of samurai movie, with homosexual themes weaved into it.
You could say the movie is being a bit of a lackluster and also lacks an epic or spectacular type of vibe to it but then again, this totally wasn't the sort of approach that the movie was going for. Some people will appreciate this movie even all the more for that fact that is a slower type of movie, that focuses on its characters and their dynamics and its surprising themes.
It was good to see a modern samurai movie, that wasn't taking a modern movie approach. You could even say that the movie takes a more sort of Akira Kurosawa approach to its storytelling and film-making. Still this would had been a better movie if it actually got made a couple of decades earlier. That way the movie would had made a far greater impact with its story and themes that are all in it.
Now the movie just doesn't ever come across as anything provoking. It's still original but not really a movie that made a great impact on me, with any of themes and emotions. It's definitely a maintaining and special little movie but in my book really not a must-see.
Perhaps it would had been if it had a more interesting main plot line in it. Instead now the movie is meandering on with its different character plot lines, instead of purely focusing on one story and one eventual goal, with all of it. It's not like the story is not focused but I would had simply preferred it if there was a more clear main plot line in it.
Definitely a watchable and original genre movie, that is worth giving a go, despite of all my criticism.
7/10
http://bobafett1138.blogspot.com/
You could say the movie is being a bit of a lackluster and also lacks an epic or spectacular type of vibe to it but then again, this totally wasn't the sort of approach that the movie was going for. Some people will appreciate this movie even all the more for that fact that is a slower type of movie, that focuses on its characters and their dynamics and its surprising themes.
It was good to see a modern samurai movie, that wasn't taking a modern movie approach. You could even say that the movie takes a more sort of Akira Kurosawa approach to its storytelling and film-making. Still this would had been a better movie if it actually got made a couple of decades earlier. That way the movie would had made a far greater impact with its story and themes that are all in it.
Now the movie just doesn't ever come across as anything provoking. It's still original but not really a movie that made a great impact on me, with any of themes and emotions. It's definitely a maintaining and special little movie but in my book really not a must-see.
Perhaps it would had been if it had a more interesting main plot line in it. Instead now the movie is meandering on with its different character plot lines, instead of purely focusing on one story and one eventual goal, with all of it. It's not like the story is not focused but I would had simply preferred it if there was a more clear main plot line in it.
Definitely a watchable and original genre movie, that is worth giving a go, despite of all my criticism.
7/10
http://bobafett1138.blogspot.com/
- Boba_Fett1138
- Mar 18, 2012
- Permalink
Wow! Are the Japanese really this stretched-thin on samurai plot line ideas? Hallmark Presents: "Life of a Gay Samurai". At one point, I thought I was watching a samurai movie that was re-translated by the Family Guy's Seth Macfarlane. There wasn't any justification for these guys, standing around with swords, talking this goop. It looked way out of place. This film was really silly and pointless. It contained ridiculous and corny dialogue that would make a Bruce Li movie look good. The only thing that saves this from an F are the acceptable fight scenes along the way. There also are some subplots that take you away from the badly contrived main plot.
5.7 (D MyGrade) = 6 IMDB
5.7 (D MyGrade) = 6 IMDB
Gohatto is a movie done extremely aestheticly in a true Japanese tradition (it almost seems that colors were specially chosen for each scene to give you the incredible feeling of understanding what will happen next). It is erotic, which is cruel and sweet at the same time. Not to mention - hot ;)
The soundtracks create a weird mystical effect, giving the events a slightly different meaning and keeping the viewer glued to the screen even when nothing is going on.
The movie leaves more questions then it answers, keeping your thoughts on it for a long time. It is full of symbols that are not easy to decode having a non-Japanese menthality. Kept me wanting to see it over and over (like it usually is with anime), each time finding something new and incredible.
A perfect work of art, by a true master.
The soundtracks create a weird mystical effect, giving the events a slightly different meaning and keeping the viewer glued to the screen even when nothing is going on.
The movie leaves more questions then it answers, keeping your thoughts on it for a long time. It is full of symbols that are not easy to decode having a non-Japanese menthality. Kept me wanting to see it over and over (like it usually is with anime), each time finding something new and incredible.
A perfect work of art, by a true master.
When I rented the movie I didn't have any idea about the plot other than it was about samurais and that Takeshi Kitano, one of my favourites directors, acted in it. Expecting to see an ordinary tale of japanese samurais I was very surprised to see what the movie was about and how the plot was developing. I had never expected anything like this. The homosexuality is played with naturality and with honesty. I read an article saying that Nagisa Oshima is the only who could make Taboo. Maybe is true. This is the sort of movie Hollywood won't make. In the end I am not really convinced about this movie. By the way, the soundtrack even tough is good it just doesn't go with the movie; to me it is out of place. So I would say that even though I didn't like it very much in general I was glad to have been surprised by the unusual subject of the movie and by the honesty and naturality in which is told. My vote is 6 out of 10.
I want to comment on the geisha scene--one that is less than a minute long.
There is more power, mystery, eroticism, history, suspense--and a whole bunch of other adjectives--in that one brief scene than in the entire movie Memoirs of a Geisha. Or any other movie I've ever seen with a geisha.* It is absolutely hypnotic and something you will never forget.
And that's just a tiny fraction of this movie.
Same sex relationships figure in the plot, so I count this as one of my ten best gay films. But it is not a gay film in any other sense except that the desire and love is for the same sex.
The dialog is literate and witty, the characters are multi-dimensional, and the story has many levels. It is a meditation on beauty, obsession, jealousy, order, and disorder. This movie is fascinating, mysterious, and exquisite.
What else could you possibly want?
*EDIT: I learned from the message boards that the character is actually a high-ranked courtesan, not a geisha. For devotees of Japanese culture, this distinction is important; for us regular people, not so much.
There is more power, mystery, eroticism, history, suspense--and a whole bunch of other adjectives--in that one brief scene than in the entire movie Memoirs of a Geisha. Or any other movie I've ever seen with a geisha.* It is absolutely hypnotic and something you will never forget.
And that's just a tiny fraction of this movie.
Same sex relationships figure in the plot, so I count this as one of my ten best gay films. But it is not a gay film in any other sense except that the desire and love is for the same sex.
The dialog is literate and witty, the characters are multi-dimensional, and the story has many levels. It is a meditation on beauty, obsession, jealousy, order, and disorder. This movie is fascinating, mysterious, and exquisite.
What else could you possibly want?
*EDIT: I learned from the message boards that the character is actually a high-ranked courtesan, not a geisha. For devotees of Japanese culture, this distinction is important; for us regular people, not so much.
If you've read my other reviews, you'll notice that I am quite forgiving of a lot of movies, mainly because I try to approach a movie objectively and try to see a movie-maker's objectives and goals for a particular movie.
As for this utter travesty of a movie, Gohatto is one of the most emotionally bland and lukewarm movies I have seen in a long time - read: utterly awful!
What could have been a thought-provoking mystery does not rise above a mire of muck in depth. I see and enjoy a lot of slow movies - appreciating them for the art that they portray, but Gohatto has no redeeming artistic merits. Argh.. I hate this movie!
As for this utter travesty of a movie, Gohatto is one of the most emotionally bland and lukewarm movies I have seen in a long time - read: utterly awful!
What could have been a thought-provoking mystery does not rise above a mire of muck in depth. I see and enjoy a lot of slow movies - appreciating them for the art that they portray, but Gohatto has no redeeming artistic merits. Argh.. I hate this movie!
- tony-clifton
- Apr 27, 2003
- Permalink
Japan in the 1860's was in a tense political situation with the Shogunate and the Emperor in conflict over whether to trade with foreigners. Though the country was still mostly isolated, the winds of change were in the air. Long-standing traditional institutions were withering away, and soon the supremacy of the samurai would give way to that of the merchant.
Nagisa Oshima's newest film TABOO (GOHATTO) examines this socio-political decline on a personal level. The film, which was nominated for a Golden Palm at Cannes 2000 and won Best Film recognition at the St. Petersburg Festival of Festivals in St. Petersburg, Russia, is a truly riveting, yet exquisite film about homosexuality among Edo-period samurai. It is worth seeing for the simple, streamlined beauty of its images and its potent drama.
Kyoto, Spring 1865. Hyozo Tashiro (Tadanobu Asano), a low-ranking samurai from the Kurume clan, and Sozaburo Kano (Ryuhei Matsuda), an effeminate 18-year-old rich man's son, join the Shinsengumi, a conservative samurai military unit loyal to the Shogun. Deceptively demure at first, the boy Kano quickly proves his acumen for killing when ordered to execute a wayward samurai. Tashiro, struck by Kano's feminine beauty and odd power, seduces him and they become butt buddies. Other men in the unit are also taken with Kano, and soon their bodies start piling up, murdered by a not-altogether-unknown assassin.
The troop leader Isami Kondo (Yoichi Sai) and his second-in-command Toshizo Hijikata (the famed actor-director Takeshi Kitano) observe the situation and react to it differently. Kondo wants Sozaburo to pay with his life for his alleged transgressions, while Hijikata, who is as wise and merciful as can be within the samurai code of conduct, adopts a wait-and-see attitude.
The most intriguing and surprising element in the film is how fairly tolerant of homosexuality the samurai leaders are, up to a point. The two commanders even discuss the subject with bemusement. When it becomes clear that the passions are running just a little too hot and threaten the cohesiveness and then the very integrity of the unit, then and only then is Hijikata galvanized into action. The last sequence of the film, when he makes his decisive move, is one of extreme grace and potent symbolism.
Takeshi Kitano's performance is measured and calm. His character seems to have attained an inner peace that the others have not. Kitano puts a human face on a duty-bound samurai. He previously acted in Oshima's 1983 Japanese-British co-production MERRY Christmas, MR. LAWRENCE, playing a sarcastic sergeant in a Word War II P.O.W. camp who cracks jokes about homosexuality. Upon closer inspection, TABOO shares some striking similarities with that film. Both films take place in a military setting and deal with homoerotic themes. The two films are also outstanding in their exploration of the endlessly conflicting aspects of Japanese culture: prone to militarism and merciless brutality on one hand - aesthetically and spiritually attuned on the other. Oshima's images are colder, more austere and subdued (sub-dude?) in TABOO than in MR. LAWRENCE, but are also no less resplendent.
Nagisa Oshima's newest film TABOO (GOHATTO) examines this socio-political decline on a personal level. The film, which was nominated for a Golden Palm at Cannes 2000 and won Best Film recognition at the St. Petersburg Festival of Festivals in St. Petersburg, Russia, is a truly riveting, yet exquisite film about homosexuality among Edo-period samurai. It is worth seeing for the simple, streamlined beauty of its images and its potent drama.
Kyoto, Spring 1865. Hyozo Tashiro (Tadanobu Asano), a low-ranking samurai from the Kurume clan, and Sozaburo Kano (Ryuhei Matsuda), an effeminate 18-year-old rich man's son, join the Shinsengumi, a conservative samurai military unit loyal to the Shogun. Deceptively demure at first, the boy Kano quickly proves his acumen for killing when ordered to execute a wayward samurai. Tashiro, struck by Kano's feminine beauty and odd power, seduces him and they become butt buddies. Other men in the unit are also taken with Kano, and soon their bodies start piling up, murdered by a not-altogether-unknown assassin.
The troop leader Isami Kondo (Yoichi Sai) and his second-in-command Toshizo Hijikata (the famed actor-director Takeshi Kitano) observe the situation and react to it differently. Kondo wants Sozaburo to pay with his life for his alleged transgressions, while Hijikata, who is as wise and merciful as can be within the samurai code of conduct, adopts a wait-and-see attitude.
The most intriguing and surprising element in the film is how fairly tolerant of homosexuality the samurai leaders are, up to a point. The two commanders even discuss the subject with bemusement. When it becomes clear that the passions are running just a little too hot and threaten the cohesiveness and then the very integrity of the unit, then and only then is Hijikata galvanized into action. The last sequence of the film, when he makes his decisive move, is one of extreme grace and potent symbolism.
Takeshi Kitano's performance is measured and calm. His character seems to have attained an inner peace that the others have not. Kitano puts a human face on a duty-bound samurai. He previously acted in Oshima's 1983 Japanese-British co-production MERRY Christmas, MR. LAWRENCE, playing a sarcastic sergeant in a Word War II P.O.W. camp who cracks jokes about homosexuality. Upon closer inspection, TABOO shares some striking similarities with that film. Both films take place in a military setting and deal with homoerotic themes. The two films are also outstanding in their exploration of the endlessly conflicting aspects of Japanese culture: prone to militarism and merciless brutality on one hand - aesthetically and spiritually attuned on the other. Oshima's images are colder, more austere and subdued (sub-dude?) in TABOO than in MR. LAWRENCE, but are also no less resplendent.
This brilliant and unequal experience which one hardly finds in the every day common commercial cinema, is a last cry for help for the true form of story telling from within the soul is being sold out. A time, mood and atmosphere that is created in Gohatto is nothing but the work of a true master.
I have seen this movie twice now. I thought I would give it another chance and, besides, I couldn't remember why I had given it such a poor rating.
Visually and musically, there is much to like about this movie. The photography is beautifully lit and stunning throughout. The musical score is original and gorgeous.
My issue is with the story, which, as a gay man, I found painful to sit through. The youngest samurai, Kano, is such a beauty that he is highly desired by his more experienced peers and teachers. If only his personality were as winning. His expression never changes, so it is impossible to guess where his head is at any given time. He is totally passive when making love and never seems to show any affection except when he spars with the man whom everyone suspects is his lover. Then, though clearly a better swordsman, Kano allows himself to be defeated, which only serves to cause the shogun master to believe that his suspicions were correct.
This film does its best to refute the mythology that has sprung up--at least in the US--concerning the supposed acceptance of homosexuality within the samurai cult. Kano's alleged gayness only causes his peers to view him with suspicion, if not disdain. If not for his skill with the blade and willingness to use it, he would have no stature at all. The plot thickens when his alleged lovers begin turning up dead. Were they killed out of jealousy? Or was it something more sinister? I won't spoil it for you. I will just say that if you're looking for a beautifully-produced Japanese gay love story, you'd do well to keep looking. Taboo will leave you with a splitting headache (pun intended).
Visually and musically, there is much to like about this movie. The photography is beautifully lit and stunning throughout. The musical score is original and gorgeous.
My issue is with the story, which, as a gay man, I found painful to sit through. The youngest samurai, Kano, is such a beauty that he is highly desired by his more experienced peers and teachers. If only his personality were as winning. His expression never changes, so it is impossible to guess where his head is at any given time. He is totally passive when making love and never seems to show any affection except when he spars with the man whom everyone suspects is his lover. Then, though clearly a better swordsman, Kano allows himself to be defeated, which only serves to cause the shogun master to believe that his suspicions were correct.
This film does its best to refute the mythology that has sprung up--at least in the US--concerning the supposed acceptance of homosexuality within the samurai cult. Kano's alleged gayness only causes his peers to view him with suspicion, if not disdain. If not for his skill with the blade and willingness to use it, he would have no stature at all. The plot thickens when his alleged lovers begin turning up dead. Were they killed out of jealousy? Or was it something more sinister? I won't spoil it for you. I will just say that if you're looking for a beautifully-produced Japanese gay love story, you'd do well to keep looking. Taboo will leave you with a splitting headache (pun intended).