A2 (2001) [Documentary Review]

A2 (2001); or, Paradise Lost
     I can’t express adequately what I want Aum to be, but I know I don’t like the way it is now.
Three years after an incredibly insightful documentary about Aum Shinrikyo and the aftermath of 1995 Tokyo attacks, director Tatsuya Mori returns with a follow-up. In A2, we see the crumbling organisation that struggles to reform itself; however, a new law is passed in the parliament which allows the police to monitor the activities of the cult.

Release Info

Directed by: Tatsuya Mori Language: Japanese

Original Title: A2 Runtime: 124 min

Sonshi He Knows Me
In order to explore the troubling situation which Aum Shinrikyo found itself in, Tatsuya Mori visits different satyams/households where the followers reside. Mori records their everyday activities, but he also captures ordinary citizens who relentlessly confront members of Aum. Apart from these local interventions, the viewers catch a glimpse of the cult at a decision-making level: We again see Hiroshi Araki together with his colleagues trying to save the reputation of Aum. At the same time, Joyu Fumihiro is released from custody and we see him striving to create a revamped version of Aum called Aleph.

It is evident in A2 that Mori loses his patience. The director himself confronts Araki and other members of Aum time and time again about the 1995 attacks and consequences of their horrible actions. “Our society’s become so brazen, so hateful, and that was all triggered by Aum. I couldn’t stand to see the whole incident be forgotten, but then I don’t know what should be done. Japanese society is clearly much worse than it was five years ago - it’s definitely warped. I think Aum was the main cause of that,” the director states.

Incidentally, we see a lot more of Mori in A2 than in the previous part. Perhaps in these little scenes with Aum followers, the director wanted to underline that this visual examination of the cult is more personal to him. In my opinion, Mori was given greater access to Aum’s facilities than before. Thanks to this richer video material, we are able to see that the followers continue to worship Shoko Asahara as well as practise his questionable teachings (see purification ritual or meditation while wearing special helmets with wires).

In addition, we witness the confrontations between local townspeople and the followers who reside in their areas. In many cases, the locals are angry and determined to drive Aum people out of their cities, but sometimes we see the opposite reaction. Ordinary people and the followers bond with each other, they casually crack jokes, or even exchange jokes. Some residents say to Mori that it is better to talk to Aum rather than fight it.

From the big-scale events, we get to see the release of Joyu Fumihiro who is tracked down by right-wing nationalists, who in turn get in conflict with the police. It is an incredibly detailed insight into the political aspect of Japanese life and how it was changed after the 1995 attacks.

Perhaps the most baffling, yet unnerving at the same time are the actions of Araki, Fumihiro and their associates. During a confrontation with a victim of the Matsumoto sarin attack, it becomes clear that people in charge of Aum have no idea how to show remorse or even understanding of what had happened. They are only interested in keeping the organisation going, which makes me all the more sorry for regular followers who fell victim to Asahara’s dogma.

Recommendations
All things considered, I highly recommend Tatsuya Mori’s A2 documentary. It is a great addendum to the first part. Recently, A2 was screened at DAFilms as part of the Made in Japan, Yamagata 1989-2021 program. In 2016, Mori also released an updated version of the documentary called A2: Kanzenhan. The film is also available on DVD from Tidepoint Pictures.Overall score: 9/10

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Pure Japanese (2022) [Film Review]

Pure Japanese; or, Bilateral Frenzy
     Raised right paws beckon fortune, raised left paws beckon people. Both paws raised means beckoning both.
On the basis of the film’s title, you probably expect me to say something like “Here comes the latest showfest of quirkiness from Japan”. Well, I am not going to say it. Indeed, Daishi Matsunaga’s Pure Japanese gives off the vibe of being an homage to Takashi Miike’s style of filmmaking with the violence factor cranked up to the max. However, the film is actually a thoughtful examination of cultural hybridity and modern issues which are plaguing Japan.

Release Info

Directed by: Daishi Matsunaga Starring: Dean Fujioka, Aju Makita, Tetsu Watanabe

Language: Japanese Original Title: ピュア・ジャパニーズ Runtime: 87 min

Synopsis
Daisuke Tateishi (Dean Fujioka) works as an “action actor” in a historical theme park. He ended up doing this job because of a traumatic accident from the past, which forced him to leave the United States. Meanwhile, a local politician (Tetsuya Bessho) harasses an old farmer Ryuzo (Tetsu Watanabe) and his granddaughter Auymi (Aju Makita) because he wants to get their land. Daisuke steps into action and protects Ayumi. However, conflict with the yakuza evokes within him the insatiable desire for violence, something which he tried to suppress for a long time.

True Grit
I have to say that I am not a die-hard fan of Dean Fujioka but even to me it is evident that Pure Japanese was a passion project for the actor. In the press booklet, Fujioka says that his personal experience of living in-between Japan and the United States served as a source of inspiration: “What does it mean to be a Japanese in the society today? Is it the blood? Nationality? If Japanese language is the OS to control the mind and action of those who speak, maybe our lives are just a vehicle for that OS.”

Indeed, the movie strives to elaborate upon the theme of Japanese identity. Screenwriter Tatsuo Kobayashi provides us with an all too familiar storyline centering on a lonely warrior who reluctantly has to save the day (see numerous flicks of such kind with Chuck Norris and Jean-Claude Van Damme) and recognisable tropes (a high school girl with a gun, ninjas, and deadly yakuza); however, the main protagonist is not given some magical MacGuffin which allows him to embrace his distinct nationality. Rather than that, the actual MacGuffin (a medical test called “Pure Japanese'') forces him to question the concept of kokutai.

In my opinion, this was a very clever approach. The movie obviously takes cues from Quentin Taratino, Takeshi Kitano, and the aforementioned Takashi Miike, but it is not just an action flick. It tries to emphasise an anti-globalist/anti-political stance of Yukio Mishima, especially in the bloody third act, and even references the famous writer.

That being said, the plotline is at times quite predictable, but smooth editing and cinematography compensate for this shortcoming. The music score is quite catchy, but it can be heard only during the film’s most important moments.

With regard to performances, Dean Fujioka is 100% in Sho Kosugi mode, which (given the context of the film) is a compliment. Aju Makita is a great addition as a damsel in distress. It was also great to see J-Drama veterans like Tetsu Watanabe and Kyusaku Shimada in the supporting roles.

Recommendations
If you are looking for an unconventional but not too out-of-the-ordinary revenge story, then I do recommend Pure Japanese. The movie is now officially out on Amazon Prime Video. My thanks go to the Copacetic PR agency for reaching out to me about the film. For more information, you can also visit the official movie site. If you can’t have enough of Dean Fujioka, then please do know that he recently released a new single.Overall score: 8/10

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Tiger Cage 3 (1991) [Film Review]

Tiger Cage 3; or, Beware of Femme Fatale
     What have I done? In this world, whoever gets the money also gets the power!
The third part of Tiger Cage is also the final instalment of Yuen Woo-ping’s action thriller trilogy. Interestingly, this particular movie is a sharp breakaway from the style set by the previous pictures. There is more emphasis on drama and economic espionage. Is Tiger Cage 3 a worthy conclusion of the saga about righteous police officers from Hong Kong? Let's see together.

Release Info

Directed by: Yuen Woo-ping Starring: Kwok Leung Cheung, Michael Wong, Sharla Cheung

Language: Cantonese Original Title: 冷面狙擊手 Runtime: 98 min

Synopsis
Inspector James (Kwok Leung Cheung) and his colleague Inspector John (Michael Wong) are investigating a businessman called Lee Siu Bong (Kam-Kong Wong). Thanks to James’ girlfriend, Suki (Sharla Cheung), who works for Lee, the police obtains documents which incriminate the businessman. However, Lee Siu manages to get the papers. He also kidnaps Suki and injures James. In the meantime, John is discharged from the force due to accusations of carrying out blackmail. The friends join forces in an attempt to get even with Lee. However, things do not appear to be as they are…

The Streets Are Hot
After seeing Tiger Cage 1 & 2, I was hopeful that Yuen Woo-ping will deliver yet another action flick with well-made choreography and fast-paced fights. However, Tiger Cage 3 seems to be more like a mash-up between Sam Raimi’s Darkman (1990) and The Bold and The Beautiful (1987) soap opera. Seriously, the main protagonist, Inspector James, ends up getting disfigured by the bad guys due to the documents of his sweetheart (just like in Raimi's film). What is more, the alliances between characters shift more frequently than Windows 10 updates. Towards the third act, you can get pretty confused in the maze of plot twists.

Nevertheless, if you are a fan of Sharla Cheung, then you will find her as the redeeming factor of this story. In fact, Tiger Cage 3 is all about Sharla and her sex appeal. In addition, each scene is an excuse to put her into a new 1980s dress. Honestly, I think that Sharla was doing a much better job in Stephen Chow’s comedies, whereas in Tiger Cage 3 her performance is mediocre at best.

What about the action? Don’t get your hopes, because the fight sequences are scarce. The only confrontations worth nothing are Kwok Leung Cheung vs. John Cheung showdown and the finale at a rooftop of a skyscraper. What is more, Michael Wong is criminally underused in this picture (Yet again, when counting his short appearance in Magnificent Warriors). Michael seems to be the only actor experienced enough to carry this movie, but weak script brings everything down.

That being said, I enjoyed the picturesque panorama of Hong Kong. Tiger Cage 3 is one of the rare movies which show how awesome the city’s downtown area really is. This place is truly one of a kind.

Recommendations
I recommend Tiger Cage 3 only for die-hard fans of Yuen Woo-ping. This movie is the only entry in the trilogy which was made without any solid idea. I guess Yuen must have really liked Darkman when it came out and he wanted to replicate those vigilante vibes. Try to refer to D&B company’s other productions instead, like In the Line of Duty series.

Overall score: 5/10

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Tiger Cage 2 (1990) [Film Review]

Tiger Cage 2: or, Midnight Run
     Do you even know where is the Caribbean Sea?
Director Yuen Woo-ping continues his series of dynamic thrillers about police officers with Tiger Cage 2, the movie that has absolutely nothing in common with the original Tiger Cage apart from the title and a couple of returning actors. This “sequel in name only” is considered by many fans of Hong Kong cinema as the cult classic due to relentlessly electrifying action set pieces and the presence of Doonie Yen as the male lead.

Release Info

Directed by: Yuen Woo-ping Starring: Donnie Yen, Rosamund Kwan, David Wu

Language: Cantonese Original Title: 洗黑錢 Runtime: 102 min

Synopsis
Mandy (Rosamund Kwan) is a lawyer at a prestigious company; however, she witnesses a brutal murder in the parking lot in the course of which a suitcase filled with money laundered by mobsters goes missing. The mobsters presume that Mandy may be in the possession of the money, so they go after her. Due to unexpected circumstances, the lawyer bumps into a hot-headed cop called Dragon (Donnie Yen). The two are framed for killing Mandy’s friend, Petty (Carol Dodo Cheng). As a result, Mandy and Dragon are on the run from the gangsters and the police. With the help of a fellow worker from the company, David (David Wu), the trio decides to find the money and clear their names.

Yes, Madam Goes Places
Tiger Cage 2 is a film produced by the famous D&B company and basically made by the same team of filmmakers who cooked up In the Line of Duty 4 (1989). Donnie Yen finally takes over the wheel as a leading man in this film and we see him battle such popular “bad guys” as Michael Woods and John Salvitti. Even Cynthia Khan herself makes a small appearance as Inspector Yeung. Apart from one nice chase scene, she does not have much to do in this film, but one has to appreciate her wardrobe (this casual white outfit is so slick!)

Yet, Cynthia Khan is not the only cutie who appears in Tiger Cage 2. Carol Cheng makes a surprise appearance as the love interest of the main villain, but she only has two scenes to play in. The real heroine of this picture is the beautiful Rosamund Kwan who portrays a standard damsel in distress with a baggage of foreseeable clichés. Nevertheless, it is a joy to see Donnie save her skin time and time again.

With regard to action, Yuen Woo-ping really tried to push the envelope with this project. In comparison with the original film, the fights are much bolder and bigger in scope. The sequences that stood out the most for me was the double-decker bus chase, Cynthia Khan vs. Leung Lam-Ling confrontation, and the epic sword fight between Donnie and John Salvitti. All of that coupled with synthwave-like music score by Richard Yuen amounts to a great viewing experience.

The only disadvantage of Tiger Cage 2 I can think of is a mediocre villain. Robin Shou is a very good actor but he is no match for the charismatic Simon Yam who dominated the first movie. I think someone like Andy Lau or Tony Leyng Ka-fai would have been a better choice.

Recommendations
If you like straightforward beat-em-ups, then I recommend Tiger Cage 2. In the Line of Duty 4 is a better cop film in my opinion, but this also a fine endeavour from director Yuen Woo-ping. Now, I’m off to check out Tiger Cage 3.

Overall score: 8/10

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A (1998) [Documentary Review]

A; or, In Sonshi We Trust
     I want you to look at us closely. I want you to record us. We don't have a tradition of recording things. Even if we did, people would see it differently, because we made it. I want ordinary people, people who can understand, to see what they can see, to hear what they can hear.
I have to make it clear upfront that I have always been interested in the controversial topic of Aum Shinrikyo and the 1995 Tokyo subway attacks. However, it was not until last year when I could conduct more research on the matter after reading Haruki Murakami’s extremely gripping Underground: The Tokyo Gas Attack and the Japanese Psyche. Going down the rabbit hole of internet search, I stumbled upon a 1998 documentary made by an independent filmmaker Tatsuya Mori. The film simply titled “A” is a behind-the-scenes look into the Japanese cult on the brink of destruction.
Release Info

Directed by: Tatsuya Mori Language: Japanese

Original Title: A Runtime: 134 min

In contrast to many respected producers and television companies, Tatsuya Mori, a freelance documentarian, was luckily allowed to step into Aum Shinrikyo facilities and record the plight of the cult between 1995 and 1997. In this 134 minutes long feature, we see a shocking image of Aum followers who display unwavering belief in Shoko Asahara, while struggling to acknowledge the atrocity of the sarin incident, which was planned by their beloved master.

The central protagonist of the story is Hiroshi Araki, then deputy spokesman of Aum Shinrikyo. This young introvert in his late 20s has to deal with swarms of news reporters, police officers, civil servants, and ordinary bystanders who postulate for the banning of Aum Shinrikyo group.

At the same time, Mori records everyday activities of other members in now-bankrupt facilities of the cult spread across Japan. They continue to meditate, pray in front of an image of Asahara, and listen to the master’s audio preachings. For non-Japanese viewers, these are truly striking images to look at. The followers themselves frequently provide confessions in front of a camera, shyly trying to put into words their line of reasoning which goes more or less like this: We had no idea what Asahara and his associates were doing. It is hard for us to believe in it, but since they admit this, it probably is true. What happened in the Tokyo subway was horrible, but it does not affect the overall goals of Aum Shinrikyo related to reaching enlightenment.

As Araki travels between different facilities which are either to be demolished or liquidated, Mori records an image of a deeply troubled man who, while thinking about his family, struggles to keep the publicly-hated organisation together. The ambiguity of this documentary raises some moral concerns: Are these people truly brainwashed? Should they be allowed to pursue their concept of utopia even if their leader turned out to be a terrorist? Does the police have any right to harass them? Mori neither acknowledges nor answers these questions. He objectively points the camera at the followers of Asahara and harnesses their complex confessions.

Recommendations
Whether we like it or not, Aum Shinrikyo continues to exist in the world of today as two separate organisations: Aleph and The Circle of Light. Hiroshi Araki continues to be the spokesman of Aleph, and recently he was featured in Atsushi Sakahara’s Me and The Cult Leader (2020) documentary. In 2001, Mori released a sequel called A2, which was followed by a novel A3 If you want to learn something more about Aum Shinrikyo, then I highly recommend the original A documentary.

Overall score: 8/10

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