Game of Death (1978) [Film Review]

Game of Death; or, A Movie Too Far
     Don’t you understand anything? Everybody looked at him, but there was no person to see anything!
I have heard a great deal of positive as well as negative opinions about the controversial Game of Death movie, the “final”, we could say, Bruce Lee’s movie. Although Bruce had shot a considerable amount of footage before he was approached with the offer of making Enter the Dragon, due to his untimely death in 1973, Game of Death remained an unfinished endeavour. However, producer Raymond Chow and director Robert Clouse joined forces in order to complete Bruce’s last movie and bring it to the big screen. However, their vision vastly differs from Lee’s original script… Please Jesus, give me strength on this one. Let’s take a look at Game of Death.

Release Info

Directed by: Robert Clouse Starring: Bruce Lee, Kim Tai Jong, Yuen Biao, Albert Sham, Gig Young

Language: English, Cantonese Original Title: 死亡遊戲 Runtime: 103 min

Synopsis
Billy Lo (Kim Tai Jong, Yuen Biao, Albert Sham) is a Hong Kong superstar, churning out such hits as Fists of Fury and The Way of the Dragon. He is stalked by a vicious syndicate which wants to organise some kind of an illegal martial arts tournament. Billy refuses to participate and, as a result, he is shot in the head by one of the henchmen on a film set. Miracuously, Billy survives and, with the help of a friend (Gig Young), fakes his own death and changes identity. However, the syndicate is now interested in Billy’s girlfriend, Ann Morris (Colleen Camp). Billy has to act fast and stop the gangsters.

For A Few Dollars More
Right from the start, you should get an idea that you are not in for a Bruce Lee flick. The intro sequence, albeit incredibly well-done for the 1970s, makes you feel as you are watching a James Bond movie. In addition, the presence of the legendary composer John Barry only reinforces this feeling whenever music cues kick in.

The task with which Raymond Chow and Robert Clouse had challenged themselves was not building a coherent story around Bruce Lee’s existing footage, but rather, how to make a Bruce Lee action film without having Bruce Lee in it. As a result, we get to see three stuntmen (voiced by an English actor) impersonating Bruce Lee… Had only the editing been more skillful, but it is not! You can see Bruce’s close-ups taken from his previous productions intercut with stuntmen in heavy make-up or cardboard cutouts…

To be honest, I can understand that back then the team behind Game of Death tried to make something which today Hollywood easily does with top-of-the-line technology (Paul Walker in Furious 7, Peter Cushing in Rogue One). The shortcomings of blending new footage with that of Bruce Lee’s are more than noticeable, yet they do not constitute the main disadvantage of the film.

In my opinion, the shoddy screenplay completely takes away the entertainment factor of this flick. We get a generic crime drama about the bad guys trying to kill the main protagonist, but the most disrespectful thing this storyline does is as follows: All Bruce Lee’s films exist in the universe of Game of Death. These are, quite rightfully, fiction… and Bruce Lee is fictional as well… Hence, this is not a film about Bruce Lee, but about a certain Billy Lo (supposedly played by Bruce Lee, which is not true) trying to act (and look) like Bruce Lee. Steven Moffat would not have been able to come up with a better cringefest, Robert Clouse!

Don’t even get me started on the dialogue! A 5-year-old could write more meaningful lines than “If we’re stopped, don’t do anything that will give them an excuse to hurt you!” or “Where’s the Doctor?!!!!!!” Also, the incorporation of the same battle cries into Billy Lo’s fight scenes is just so off the mark.

However, I have to give justice to Bruce Lee’s footage. When we finally get to see the pagoda showdown (which functions in the context of the film as confrontation in a restaurant), it feels like a breath of fresh air. Just these 10 minutes of Bruce Lee kicking ass with his maverick demeanour are definitely worth watching.

I think I should also mention the most controversial aspect of Game of Death. As mentioned in the synopsis, Billy Lo fakes his own death, and… lo and behold the movie features an actual shot (from the funeral) of dead Bruce Lee lying in an open coffin... Talk about a whole new level of graverobbing.

Recommendations
Without any doubt, Game of Death was made as a blatant cash-grab, riding on the wave of Bruceploitation trend of the late 1970s. My respect goes to Karim Abdul Jabaar who refused to take part in this abomination (he’s still credited though due to the pagoda footage). If you want to get the feel of how Bruce Lee’s Game of Death was supposed to look like, then grab the awesome documentary Bruce Lee: A Warrior’s Journey (2000) instead.Overall score: 3/10
Pagoda footage: 10/10

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193 Reviews and Counting (Blog Update)

Phew, 2020 is nearing its end. I think it’s safe to say that everybody wants to forget about this year and looks forward to upcoming (and hopefully better) 2021. Because of the pandemic, my workload increased which led me to making a couple of sacrifices.

That is to say, due to increasing time constraints, I had to withhold my contributions to both AsianFilmFans and AsianMoviePulse. Together with running this blog as well as submitting editorials to MyDramaList, I simply did not have enough time and strength to regularly send articles to other sites. I hope that this will change in 2021.

However, with regard to the blog itself, I feel very proud that I managed to publish almost 70 posts throughout the year, which is an outstanding record considering my whimsical writing capabilities. I sincerely hope that I will manage to keep up the update tempo for as long as possible.

In terms of updates themselves, I want to write a bit more about dramas, anime, and Tokusatsu films/shows in the future, but regular movie reviews as well as sporadic editorials will always constitute the core of this blog. In addition, I also toy with the idea of reviewing North Korean productions (either in a traditional blog forms or as Youtube videos) if not to analyse the social-realist aesthetics, then just for laughs.

Still, a few more positive things have happened this year: 1) The number of (feed and mail) subscribers is increasing, 2) I managed to write a guest article about Meiko Nakahara for Kayo Kyoku Plus blog, 3) Finally finished my dream project of doing a fan commentary on Battle Angel Alita OVA, 4) Started a subreddit on Yoko Oginome, 5) Completed a collab article on Shinobu Yaguchi.

That’s it for the moment. Just as I wrote last year, Thank You for being here, reading my opinions, and most importantly, appreciating the grandeur of Eastern Cinema. I wish you all the best and Godspeed! Stay warm, keep safe, and always shoot for tomorrow!

Ghost in the Shell SAC_2045 Season 1 (2020) [Anime Review]

Ghost in the Shell SAC 2045; or, The Art of War
     It's wonderful not to have any noise.
When I first heard of Netflix teaming up with Production I.G. in order to create a new Ghost in the Shell anime, I was pleasantly surprised. Then, the official trailer saw the light of day and it only increased my worries about this upcoming entry in the franchise. All in all, Netflix executives already made a name for themselves in the vast and infinite net after (mis)handling other anime adaptations. In view of the constant release delays (the series came out at the end of April) and the raging pandemic at the beginning of 2020, my hype level simply wore off. As a result, I was not keen on checking S.A.C. 2045 until now. Finally, having seen all 12 episodes, I can safely say that this ghost is still very much alive in its new shell.

Release Info

Developed by: Shinji Aramaki, Kenji Kamiyama Voice Actors: Aysuko Tanaka, Osamu Saka, Akio Otsuka

Language: Japanese Original Title: 攻殻機動隊 No. of eps.: 12

Synopsis
In the early 2040s, the G-4 nations devised an idealised version of warfare known as “Sustainable War”. Military conflicts were no longer violent acts of invasion, but they became a permanent branch of economy, handled by AI systems and professional mercenaries. The goal was not to kill, but to expand the economic potential of a given country. However, after the “Global Simultaneous Default” event, all financial institutions went bankrupt. Still, the wealthy elites were not directly affected by the economic crisis because they invested in the Sustainable War. Major Motoko Kusanagi works together with former members of the Public Security Section 9 for a private military company in America. Chief Aramaki together with Togusa put the old team back together so they could investigate the mysterious “post-humans” who are allegedly responsible for instigating the global economic collapse.

Who controls the past…
Allow me to address the most pressing questions right away: 1) Yes, S.A.C. 2045 is set in the same timeline as the two previous seasons of Stand Alone Complex 2) No, it does not suck. I was super afraid that the 3D animation would completely spoil the viewing experience for me, but I quickly got used to the new “look” and even appreciated it during the action scenes. Clearly, directors Shinji Aramaki and Kenji Kamiyama wanted to push the envelope with these new episodes and present a live-action-like experience, which clearly is not live-action. Personally, I liked the character design, the return of the original voice actors, and video game vibes of the visuals; however, if the numerous layers of 3D are something you cannot absolutely stand... then it is best to give S.A.C. 2045 a pass.

The one aspect of the series that won me over is definitely the writing. The world of political intrigues and individual rebellions against the status quo as we know it from the previous GITS entries remains intact. I dare to think that, in a lot of ways, these new episodes mirror (and build upon) the themes from the first season of Stand Alone Complex. No spoilers, but let me say that whereas the Laughing Man sought inspiration in J.D. Salinger, the “antagonist” of S.A.C. 2045 is very much under the influence of George Orwell.

Another thing which I found enjoyable was the inclusion of some new characters. They may not have a huge impact on the overall storyline, but they provide a much-needed breath of fresh air. In addition, if you wonder about the presence of “stand-alone” stories in this season, then I confirm: Yes, there is only one involving Batou (and it’s great!).

Now moving on to things that I disliked… The intro and outro themes feel very generic. I don’t usually skip through the credits, but the blandness of the songs made push the fast forward button. In contrast, the music score by Kazuma Jinnouchi and Nobuko Toda has noticeable Hans Zimmer undertones and is fairly enjoyable

.One more thing that left me disappointed was the series ending. Again, I’m not throwing any spoilers, but I should warn you that S.A.C. 2045 ends with a cliffhanger(!) That’s right, these 12 episodes do not tell a complete story. Netflix/Production I.G. is going to release a second season apparently sometime around January 2021… Come on, Aramaki and Kamiyama! The suspense is killing me!

Recommendations
As I have already said, if you do not mind the CGI animation style, then you can give S.A.C. 2045 a try. If you have not seen it already, then it is best to wait for the second season in order to be able to see all 24 episodes without waiting. Major is still kick-ass and that’s the most important thing.Overall score: 8/10

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Mada Kekkon Dekinai Otoko (2019) [Drama Review]

Mada Kekkon Dekinai Otoko; or, The Man Who Still Can’t Get Married

     Being alone is the best!
I admit that it took me quite a while to get round to reviewing this drama, but Mada Kekkon Dekinai Otoko is one of the few shows for which I impatiently waited since the very announcement. This is actually a follow up to Kekkon Dekinai Otoko drama from 2006, one of my fave J-dramas of all time. Everything was so perfect in the first season: the script, the humour, the characters, and Hiroshi Abe with his priceless expressions. Does the second season live up to the grandeur of its predecessor?

Release Info

Created by: Masaya Ozaki Starring: Hiroshi Abe, Yoh Yoshida, Izumi Inamori, Mai Fukagawa

Language: Japanese Original Title: まだ結婚できない男 No. of eps.: 10

Synopsis
Shinsuke Kuwano (Hiroshi Abe) still lives a single lifestyle after his relationship with a doctor fell apart. Even stronger than ever, Kuwano opposes the institution of marriage and believes that (thanks to developments in medicine) people can live up to 100 years of age in pleasurable loneliness. However, there is a despicable critic of Kuwano’s architectural designs. The anonymous assaulter runs a blog which drives Kuwano crazy. He resorts to get legal assistance. In the course of this new adventure, Kuwano will meet such vibrant personalities as Madoka (Yoh Yoshida), a lawyer; Yukie (Izumi Inamori), a café owner; and Sakii (Mai Fukagawa), an actress. Will the most stubborn and eccentric bachelor in the world finally warm up to the idea of marriage?

13 Years Later
First of all, I was really afraid that the second season may not only turn out weak but also tarnish the legacy of the original drama. Thankfully, the source material was treated with utmost respect. Hiroshi Abe totally rocks as Kuwano-san and he is the guiding light of this show! Although some of the characters from the first season do not return (where’s my Reiko Takashima!), there are at least small Easter Eggs which remind the viewers about Kuwano’s past shenanigans. Now, he has to learn how to handle not only his mommy (brilliant Mitsuko Kusabue), not only his niece, not only his co-workers, but also three women. The cast of this drama is just excellent.

With regard to the episodes, I could not take my eyes off them. I binged the whole drama within a week. Each episode is just a wild adventure into which Kuwano involuntarily gets himself entangled. I think my favorite story is the episode in which Kuwano goes on an excursion and accidentally encounters Madoka, Yukie, and Saki who wish to visit the local temple. The way he shouts in English: “Have a nice day!” to gaijin tourists cracks me up so much!

Nevertheless, there is a purpose to this whole insanity. Japan still suffers from negative natural growth and both seasons of Kekkon Dekinai Otoko are meant to communicate that single lifestyle is not all about rainbows and butterflies. Marriage is not that scary, but (as Madoka explains) one has to be patient and find the right person. Perhaps that’s what I like about this drama the most, Kuwano-san may be an intelligent eccentric suffering from OCD, but there’s a match even for him. The final episode was so touching (no spoilers)! In a way, Mada Kekkon Dekinai Otoko was even more similar to an old comedy with Jack Nicholson, As Good As it Gets (1997), than the first season.

In terms of trivia, it should be noted that the drama was accompanied by a mini-series called Chain Story, a set of 10 vignettes providing short stories about the characters. There was also a special episode which was basically a look at behind the scenes: interviews with the cast and crew, small talk with bystanders about the drama, and a preview of Kuwano-san apartment built in studio conditions.

Recommendations
Coming back to my question posed in the introduction of this review. Yes, Mada Kekkon Dekinai Otoko is a magnificent continuation and I recommend it to any fan of Kuwano-san. I only wish I had more time to spend with these wonderful characters. Well, as they say, all the good things must come to an end. To sum up, 20 episodes about a guy who can’t get married are perfect.
Overall score: 10/10

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Fukushima 50 (2020) [Film Review]

Fukushima 50; or, When Disaster Strikes
     We believed we controlled nature. It was human ego.
Exactly 9 years after the disastrous Tohoku earthquake and tsunami, Fukushima 50 is the first live-action motion picture which retells the tragic events that ensued in Fukushima Daiichi Nuclear Power Plant. Directed by Setsuro Wakamatsu, and inspired by the non-fiction novel On the Brink: The Inside Story of Fukushima Daiichi by Ryusho Kadota, the film is both a poignant drama as well as faithful retelling of the latest nuclear disaster in our history.

General Info

Directed by: Setsuro Wakamatsu Starring: Koichi Sato, Ken Watanabe, Hidetaka Yoshioka

Language: Japanese Original Title: フクシマフィフティ Runtime: 120 min

Synopsis
March 11, 2011. The Tohoku earthquake generates a massive tsunami which is supposed to hit the Fukushima Daiichi Power Plant. The authorities are confident that nothing bad will happen because the plant is well-prepared for such emergencies. However, the tsunami is much bigger than it was estimated. It hits the plant and cuts off the electrical power. Workers at the plant led by the site superintendent, Masao Yoshida (Ken Watanabe), and the shift supervisor, Toshio Isaki (Koichi Sato), do everything they can in order to prevent a nuclear meltdown. Meanwhile, residents living within a 20km radius of the power plant are being evacuated.

Desperate Measures
I vividly remember the day when I got back from high school, turned on TV and saw dramatic news reports from Japan about the Tohoku earthquake. However, the news about Fukushima started coming in a few days later. Unable to gather what exactly happened there just from the mainstream media, I turned to documentaries, but still found it very hard to understand the complexities which led to level 7 meltdowns in three reactors at Fukushima Daiichi. Thankfully, the movie (similarly to other biopics about popular disasters like the Charnobyl (2019) miniseries or Deep Water Horizon (2016)) lays out everything in a clear, step-by-step fashion.

Evidently, the story of Fukushima 50 is the story about brave workers at the plant who did not abandon their posts and did everything they could to prevent the contamination of half of Japanese soil. Additionally, the movie focuses on profit-oriented executives completely oblivious to the situation at Fukushima, and on the families living in the plant’s vicinity forced to abandon their homes. Some could think that the inclusion of so many characters, apart from the plant workers, is unnecessary, but the story of Fukushima is theirs story as well.

Watching the film is certainly a powerful experience because it is a dramatisation of real-life events. With regard as to how the filmmakers handled and presented this sensitive topic which is still fresh in Japanese hearts, I dare to say that the film communicates the anti-nuclear message much better than the fictional Pandora film from 2016.

With regard to performances, both Koichi Sato and Ken Watanabe are a class act. I also appreciated the supporting parts of such well-known actors and actresses as Hidetaka Yoshioka, Narumi Yasuda, Yasuko Tomita, Shiro Sano, Masane Tsukayama, and Dankan.

Recommendations
If you want to know more about the history behind Fukushima Daiichi, then I recommend Setsuro Wakamatsu’s Fukushima 50. Indeed, it is a well-made film that will provide you with valuable pieces of information and subsequent food for thought. I sincerely hope that international communities will learn from Fukushima’s tragedy and implement necessary safety precautions at power plants.
Overall score: 8/10

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Honest Candidate (2020) [Film Review]

Honest Candidate; or, Vote for Joo Sang Seok!
      But we're platonic at this point. Our home is the capital of friendzone and I'm the mayor!
When the first trailer for Honest Candidate dropped in December, 2019, I was extremely hyped because of the amazing Ra Mi Ran, but due to the raging pandemic, the premiere passed me by and, just recently, I remembered about the film and checked it out. The movie directed by Chang Yoo Jung, and inspired by a 2014 Brazilian production O Candidato Honesto is a clever reinvention of the not-being-able-to-lie formula, introduced by Liar, Liar (1997) film with Jim Carrey.

Release Info

Directed by: Chang Yoo Jung Starring: Ra Mi Ran, Kim Mu Yeol, Na Moon Hee

Language: Korean Original Title: 정직한 후보 Runtime: 104 min

Synopsis
Joo Sang Seok (Ra Mi Ran) is a third-term congresswoman who tries to get re-elected for the fourth time. Although she started out as an honest social activist, raised by her grandmother, Kim Ok Hee (Na Moon Hee), she gradually became a standard, untruthful politician, doing shady deals with other congressmen. While Joo Sang Seok hopes to win the elections, her grandmother makes a wish that Joo Sang Seok become an honest person again. As a result, the politician suddenly finds herself unable to tell a lie. In order to protect Joo Sang Seok from uncomfortable situations during the campaign, her personal advisor, Park Hee Chul (Kim Mu Yeol), and family members step into action. Eventually, they decide to use Joo Sang Seok’s truthfulness as the game-changing aspect of the elections. She becomes an honest candidate.

Lie to Me
I gave the film a try thinking that it will be a well-made remake of Liar, Liar, but it turned out to be much more than that! Honest Candidate is a fast roller coaster filled with comedy, brutal satire of modern politics, and a touch of family drama. Ra Mi Ran steals this movie from the very minute with her epic acting.

Having known the actress from Sympathy for Lady Vengeance (2005) and Reply 1988 (2015), I am completely gobsmacked by her acting range and excellent comedic timing. I could not get enough of Ra Mi Ran’s hilarious facial expressions and fits of rage. She totally rocks and carries the whole movie.

Apart from the comedy, I also appreciated the light moments with Joo Sang Seok’s husband (Yon Gyung Ho) and son (Jang Dong Jo). Evidently, the most touching scenes of the film are the ones with the grandma character, but they surprisingly work in the story. Actor Kim Mu Yeol also has an opportunity to shine, even though his role is just a supporting one. The interactions between the main heroine and the advisor are really sweet.

Director Chang Yoo Jung might not have extensive filmography, but she certainly knows how to cook up light-hearted flicks with heartwarming messages (for instance, Finding Mr. Destiny (2010) and The Bros (2017)). Honest Candidate may be considered to be a remake but thanks to a thoughtful script and brilliant performance of Ra Mi Ran it very much stands on its own.

Recommendations
If you are in the mood for a happy-go-lucky comedy without unnecessary ideological preaching, then I recommend Honest Candidate. Get that ballot and cast your vote for her. Once you hear “Candidate no.1 Joo Sang Seok” election song, you won’t be able to get it out of your head! Here’s hoping that Ra Mi Ran will continue making more movies like this one.
Overall score: 8/10

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Confessions in the Jungle: Comparing The Bridge on the River Kwai (1957) and Merry Christmas, Mr. Lawrence (1983) [Editorial]

Disclaimer: The article is filled with spoilers of both films. Please read it only if you have seen the movies.

If you had to operate on Saito, would you do your job or would you let him die? Would you prefer to see this battalion disintegrate in idleness? Would you have it said that our chaps can’t do a proper job? Don’t you realize how important it is to show these people that they can’t break us, in body or in spirit? Take a good look, Clipton. One day the war will be over, and I hope that the people who use this bridge in years to come will remember how it was built, and who built it. Not a gang of slaves, but soldiers! British soldiers, Clipton, even in captivity. ~ Lieutenant Colonel Nicholson

It's your gods. It's your bloody awful stinking gods. They made you what you are. May they rot in whatever filthy hell they came from! Damn them! Damn your gods! Damn! Damn them! ~ Colonel John Lawrence

With the category of World War II being all-time popular among academic scholars, it is not surprising that movies about POW experiences are constantly analysed and compared. With regard to the topic of Japanese campaign in Asia during the war, two movies are frequently mentioned alongside each other by film experts: David Lean’s The Bridge on the River Kwai (1957) and Nagisa Oshima’s Merry Christmas, Mr. Lawrence (1983). After having revisited these war epics, I also decided to share my insight on them. Evidently, both productions present different visions of the conflict in Asia (one being a Hollywood motion picture, the other a Japanese one), yet they complement each other in evaluation of the POW situation and the ambiguous relationship between soldiers and their captors.

The Bridge on the River Kwai is a war adventure epic based on the novel by the famous French writer Pierre Boulle (who took inspiration from his personal experiences during the war). The film tells the story of a group of British POWs, led by senior officer Lt. Col. Nicholson (Alec Guiness), who are transferred to a camp in Burman jungle, the supervisor of which is Colonel Saito (Sessue Hayakawa) who employs despotic means in order to keep the camp in order. Nicholson intervenes numerous times, but he is subjected to torture. Saito’s goal which he must fulfill is to complete the construction of a bridge over the River Kwai that will become a part of the railway line between Bangkok and Rangoon. In view of the fact that building a bridge is an impossible task for Japanese engineers, Saito eventually gives in and starts cooperating with Nicholson. The British officer takes the matter personally and is determined to construct the most reliable bridge as possible. He does not know, however, that the British command is planning to blow up the bridge…

The Bridge on the River Kwai is a conservative story about conservative men who try to stay alive in the middle of the jungle. While conflicting over the matter whether the officers should work together with privates or not, Nicholson is subjected to a great deal of suffering because he wants to protect the dignity of his men, which is guaranteed by the Geneva Convention. Saito, on the other hand, does not care about Western rules. He is only focused on his own twisted understanding of honour and the Bushido code. To him, the British soldiers are literally nothing because they let themselves get captured (Nicholson clarifies later on that they were ordered to surrender by the higher-ups). Nicholson does not respond to Saito’s threats and gifts which are meant to win his favours. Consequently, Nicholson wins this battle of convictions simply because Saito does not have any more time to waste. The bridge has to be built from scratch within 12 weeks.

Through the act of building the bridge, Nicholson wants to prove the greatness of the British Empire. Under his skillful supervision, the soldiers erect an impressive construction which is meant to last 600 years. However, Saito’s personal pride is broken in the process. The Japanese colonel is crushed and put to shame by Nicholson’s resourcefulness and leadership efforts. Just as when he considers committing suicide, the two characters share an intimate moment, alone on the completed bridge. That is, Nicholson reflects on his war experiences which constitute the majority of his adult life: “I love India. I wouldn’t have had it any other way. But there are times when suddenly you realise you’re nearer the end than the beginning. And you wonder, you ask yourself, what the sum total of your life represents, what difference your being there at any time made to anything, or if it made any difference at all really. Particularly in comparison with other men’s careers. I don’t know whether that kind of thinking is very healthy, but I must admit I’ve had some thoughts on those lines from time to time.” Saito, being well-spoken in English, remains silent and perplexed having heard this unexpected reflection from the enemy.

The cast of the film (especially Alec Guiness) frequently clashed with David Lean over many matters while shooting the picture. According to them, the novel was too “anti-British” (source). In my opinion, Pierre Boulle’s story is neither anti-British nor anti-Japanese. The book as well as the film are actually about the death of Imperial Britain. That is to say, apart from the Nicholson-Saito conflict, there is a subplot focusing on “Major” Shears (William Holden) and Major Warden (Jack Hawkins) who are on a mission to blow up the bridge. Shears (being a man who successfully escaped from Saito’s camp) participates in the assignment unwillingly. What is more, he perceives Warden as a person who will do whatever it takes to get ahead. Warden is, in fact, a representative of “new” Britain; the one that does not care about the past, the glory of colonial days, and loyalty to the King. Indeed, Nicholson has taken the matter of erecting the bridge too personally, yet his tragic death (falling on the plunger) in the film’s finale marks an end of a historical era. Old Britain has sacrificed itself for a new generation. Clipton (James Donald), a medical officer, upon witnessing the destruction of the bridge states appropriately: “It’s madness! Madness! Madness!”

In Merry Christmas, Mr. Lawrence, Nagisa Oshima tells, in a very subtle manner, a more intimate story about individual relations between men and the cultural clash between the East and the West. Interestingly, the movie was based on war memoirs of Sir Laurens van der Post, as described in The Seed and the Sower (1963), so the picture also had a literary source as in the case of The Bridge on the River Kwai.

The main protagonist of the film is Colonel John Lawrence (Tom Conti) who is kept in a prison camp on Java together with other British soldiers. Lawrence serves as a mediator between the Japanese and the British because of his unusual background (he had lived in Japan and has a Japanese wife). Because of his insight into the enemy’s culture, he is able to understand the vague decisions and nuances of his captors. He interacts on a daily basis with Sergeant Hara (Takeshi Kitano), an impulsive (yet at times considerate) officer whose actions often anger Captain Yonoi (Ryuichi Sakamoto), the supervisor of the camp.

According to the judgement of a shady military court, Major Jack Celliers (David Bowie) is incarcerated in Yonoi’s camp. From the very first moment of their encounter, Yonoi develops a kind of unhealthy interest in Celliers. He always asks about the prisoner and even observes him sleeping at night. Yet, Celliers himself does not respond to Yonoi’s fixation. Being a natural leader, he instigates a number of rebellious activities inside the camp, which greatly anger the Japanese. It turns out that both men suffer from personal trauma. Yonoi regrets not being able to participate in the 1936 coup d'etat in Tokyo, whereas Celliers cannot forgive himself that he allowed his younger brother to be bullied at school.

The plotline of the film is unfolding on these two linearities (Celliers-Yonoi; Lawrence-Hara) which run parallel to each other. Interestingly, Lawrence appears to be the unwilling confidant of the principal characters, hearing out their personal conflictions. As a result, I would argue that (instead of being a manifesto on homoerotics) the film is about the crisis of individuality. Captain Yonoi is incapable of thinking and acting for himself, whereas Celliers always steps into action because he wants to receive absolution for his past sins. The story’s culminating moment, when Yonoi is about to execute the spokesman of the POWs (Jack Thompson), but Celliers intervenes and kisses the captain on the cheeks, symbolizes the death of militarist Japan. Warmongering fanatics in charge of the Japanese Empire wanted to produce a whole generation of powerful and unbreakable patriots, but Yonoi as well as Celliers are, in fact, sensible men with strong wills, able to choose their own fate.

The complicated friendship between Lawrence and Hara cannot go unnoticed as well. However, it is not as pronounced and ambiguous as the Celliers-Yonoi one. Lawrence tries to maintain relatively healthy relations between the soldiers and the captors, but unfortunately things do get lost in translation (for instance, the case of a Dutch POW). Notice that Ruyichi Sakamoto’s memorable theme can he heard three times throughout the picture: 1) When Lawrence is escorted by Hara; 2) When Hara saves the lives of Lawrence and Celliers after the radio transmitter incident; 3) When Lawrence meets Hara (sentenced to death by the Allies) in 1946. Yonoi and Celliers may be prominently featured on the movie's poster, but the main theme belongs to Lawrence and Hara and serves to underline that both men are victims of unfortunate circumstances. Hara, albeit rough and unpredictable, did save Lawrence’s life, but the colonel is unable to return the favour. Lawrence comments on Hara’s situation in the following manner: “You are the victim of men who think they are right... Just as one day you and Captain Yonoi believed absolutely that you were right. And the truth is of course that nobody is right…”

Consequently, Clipton and Lawrence emphasise with their concluding expressions the futility of war. People had made a hell on earth for themselves in the name of abstract ideals. The only end result is the crisis of their individualities, regardless of whether they are from the West or the East. Nevertheless, this crisis can be amended by mutual understanding, or even friendship.

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