Matt Cooper Films

Bright Future (2003) by Kiyoshi Kurosawa

Two young men find their paths diverging as they attempt to escape from the monotonous grind of working-class life. Yuji Nimura (Joe Odagiri) and Mamoru Arita (Tadanobu Asano) work together but neither is particularly happy with their job. When their boss tells them that he wants to keep both of them on they see a bleak future stretching out before them, one of menial labour and little in the way of self-fulfilment. Taking desperate measures, Arita kills their boss and ends up in jail, potentially facing a death sentence. Meanwhile, Nimura, who had also considered such drastic action begins working with Arita’s father, Shinichiro (Tatsuya Fuji), reconditioning old electrical appliances. Nimura is also left in charge of Arita’s pet red jellyfish which he accidentally lets loose into the Tokyo waterways. The jellyfish’s unlikely escape and continued survival become a key concern of Nimura who hopes to keep it alive as long as he can.

“Bright Future”, written and directed by Kiyoshi Kurosawa, paints a grim picture of the economic hardships and lack of hope faced by younger generations. Nimura and Arita are relatable in their aimless existence, with little to look forward to. Nimura is brutally reminded of his inadequacies in comparison to his besuited brother-in-law who works at a respectable company and appears to have his life together. The film’s shocking twist, with the boss being brutally murdered, forces Nimura to re-examine his life and ask what he is living for. Alongside its socially-conscious excoriation of a political and economic system that repeatedly fails its young people, the film has a blackly comic streak that provides plenty of enjoyment and the moments of high-drama such as a back and forth between Nimura and Arita’s father work exceptionally well in capturing their characters and philosophies. The plot shifts from dark to light, reflecting the duality of the characters and the potential for both beauty and violence. The performances, led by Joe Odagiri and Tadanobu Asano, are understated but compelling, with an underlying unpredictability to them.

The red jellyfish, a creature that should not survive in the fresh water rivers of Tokyo, symbolises the alienation felt by the protagonists. It is a creature that provokes both wonder and fear, both exquisitely beautiful but also terrifyingly dangerous to touch. In the same way Nimura and Arita have the capacity for both providing joy and also causing pain; it is their own lack of self-awareness that prevents them from making this choice conciously. The film ends, unusually, with a group of young men who earlier joined Nimura in an attempt to rob his brother-in-laws firm, and we see them walking along a street, kicking boxes, directionless, and all wearing a Che Guevara T-shirt. The film seems to be suggesting that there is untapped energy in this generation, and a failure to harness it comes with potentially devastating consequences. Depending on your outlook the ending could be a positive affirmation that there is always hope in the next generation, or an ironic commentary on the repeated failings of states and governments to adequately provide guidance and the ‘bright future’ of the title to the youth.

Matt Cooper Films

Gonin 2 (1996) by Takashi Ishii

When his wife dies by suicide after being raped by Yakuza thugs, Masamichi (Ken Ogata) sets out for revenge, attacking those responsible. Meanwhile, a group of women are caught in the middle of a jewellery store robbery, managing to make it out of the ensuing firefight with the loot. The women must decide what to do with their spoils while avoiding the repercussions from the gangsters who want to reclaim it.Their actions bring them into contact with Masamichi who is looking for one of the jewels he had promised to his wife before her death.

“Gonin 2” is a spiritual successor to the first film, with scant nods to the previous film. It brings the same mix of violent action and emotional backstories, with yakuza shootouts, rape and robbery. The main cast do a great job, from Ken Ogata’s broken widower, Masamichi, whose own guilt underscores his anger at his wife’s abusers. The women face every possible outrage perpetrated on the female sex, from victims of abuse, jilted lovers, and teenage prositutes; beaten and betrayed by the patriarchal world they inhabit, their rage is palpable. Shinobu Otake, Kimiko Yo, Mai Kitajima, Yui Natsukawa and Yumi Nishiyama bring the same blend of chemistry, heart and humour as the men in the first film, proving they are more than capable of handling themselves. This emancipatory tale sits alongside the exploitation elements of nudity, but largely steers clear of sexualising its protagonists, instead highlighting the dangers they face due to their gender. Exciting action sequences with a score by Goro Yasukawa that moves from frenetic to operatic, capturing the theatrical tragicality of the story. This is very much a larger-than-life story, not afraid to push credibility to the limits. Ishii’s talented direction captures striking shots and sequences with a natural flair.

More than a simple crime caper, “Gonin 2”, by treating the female protagonists with no less respect than the men in the first film, becomes a feminist piece highlighting the adverse circumstances they suffer under, everything from daily slights to serious abuse. The scene in which the women dance to an old jukebox emphasises their joy at being freed from societal constraits, now able to steer their own destinies. While it may be wish-fulfilment to believe that they would triumph under such circumstances, we are completely behind them as they variously evade and take on the evil gangsters that pursue them, with every victory a body-blow against the men who dismiss or underestimate them. A stunning sequel that captures the energy and emotion of the original, while delivering a poignant reminder of the inequalities still prevalent in society.

Matt Cooper Films

Gonin (1995) by Takashi Ishii

Five men attempt to escape the brutal vengeance of the Yakuza after stealing 100 million yen from them. Club owner Bandai (Koichi Sato) is in debt to the Yakuza who come to his club to harrass him. He recruits knife-weidling fraudster Mitsuya (Masahiro Motoki), ex-detective Hizu (Jinpachi Nezu), violent tearaway Jimmy (Kippei Shiina), and an unemployed salaryman (Naoto Takenaka), all of whom either have monetary worries or a vendetta against the Yakuza, in a daring raid on the offices of the group. Following their heist, the Yakuza hire two hitmen, played by Takeshi Kitano and Kazuya Kimura, to find the men responsible.

Written and directed by Takashi Ishii, “Gonin” is a stylish crime thriller with a great cast of central characters. The slight backstories give us enough to sympathise with them, through their planned robbery and the merciless hunting of them that follows. This group of anti-heroes all have their own peculiarities and the film lets us see the psychological turmoil they are going through. The early part of the film takes its time to establish their circumstances, which makes the final third even more thrilling as we watch their attempts to escape the hitmen that have been assigned to kill them. The film’s oppressive noir atmosphere is perfectly encapsulated in the various night-scenes and shootouts in the pouring rain. This is a world that is awash with violence, drugs, avaricious mobsters, and brutal repercussions and the superb score by Goro Yasukawa underlines the tensions and tragedy of those involved.

“Gonin” presents the image of a deeply depressing world, where no deed goes unpunished. The senseless violence drives home the point that any involvement with the criminal underworld is likely to end poorly, whatever your intentions. Violence begets violence and the cycle continues. The film also forefronts homosexuality, with both the protagonists and antagonists, which nods to the idea that heroes and villains are distinguished only by their actions. The final shot of the film also highlights this duality in man and we are left to wonder what will become of a world in which violence is permitted to flourish.

Matt Cooper Films

Bodyguard Kiba (1993) by Takashi Miike

After ripping off his fellow gang members, an ex-boxer hires a top bodyguard to help fend off his vengeful former associates. Junpei (Daisuke Nagekura) is driving the Soryu Family members, led by Yasunaga, to a meeting with a Chinese gangster. While stuck in traffic, the gangsters get out and walk leaving Junpei the opportunity to flee with 500 million yen. When he is later confronted, he stabs Yasunaga, leading to a five-year term in a North Kanto jail for attempted murder. On his release he hires the legendary bodyguard Naoto Kiba (Takeshi Yamato) to escort him back to Okinawa, where he intends to reunite with his girlfriend Yoko (Shinobu Tanaka) and avoid a confrontation with the members of the Soryu gang he betrayed.

Based on the comic by Ikki Kajiwara and Ken Nakagusuku, with a screenplay by Hisao Maki and Tetsuya Sasaki, and directed by Takashi Miike, “Bodyguard Kiba” is a fun action film with a straightforward plot, featuring karate, sex, double-crosses, and gang violence. The simplicity of the story means that it doesn’t get in the way of the action. Junpei is an entertaining protagonist and sympathetic in contrast to the aggressive mobster Yasunaga. Kiba is established as an almost unstoppable force, capable of taking out a room full of villains in well-choreographed fight sequences that retain a sense of impact. The film features an unecessary but entertaining scene at the end when Kiba takes on a police officer who also happens to be a karate enthusiast.

Despite being, for the most part, rather silly knockabout fun, the film manages to create tension and delivers an emotional punch in the central relationship between Junpei and Yoko. Centering themes of trust, loyalty, and betrayal, the script builds to a thrilling showdown in which their relationship is tested to the limit. For fans of fast-paced crime thrilers, “Bodyguard Kiba” certainly delivers.

Matt Cooper Films

Family 1&2 (2001) by Takashi Miike

After a traumatic childhood, the three Miwa brothers, Hideshi (Koichi Iwaki), Takashi (Kazuya Kimura), and the youngest Takeshi (Taishu Kase), become involved in a life of crime, the elder siblings working as underbosses for a major crime family, while Takeshi becomes a professional assassin. When Takeshi kills the leader of a rival gang it sparks a conflict that threatens to spiral into an all-out war.

“Family 1&2” features many of the usual tropes of Yakuza drama, but with very little impact. The film begins with a rape scene in which Haruko Miwa, the mother of the three protagonists, is assaulted after her husband is unable to pay his debts. As shocking as this scene and others like it are, they function as plot mechanics rather than having any real impact on the characters, and by extension the audience. The film continually swerves any moments of real drama, such as Hideshi’s wife confronting him about the danger they are in, or the brothers’ relationship with their mother; instead layering scenes that fail to develop the characters, but serve to showcase stereotypical gang violence. It feels like a series of subplots jumbled together without any central story or message. Usually, a Yakuza gang war would be the backdrop to a human drama, while here it is the whole point. There is a tonal inconsistency that makes it hard to take anything seriously and undermines what should be devastating moments. The sequence in which Takashi’s wife is being raped, while Takashi and his brother arrive in a tank to take on the gang is one example of this mismatch in tones, trivialising a horrifying experience. The film is based on a manga by Hisao Maki, which may account for some of the more bizarre elements and outrageous characterisation (Takeshi is a preternaturally gifted gunman), but it is a poor excuse for the lacklustre storytelling. Part daytime television drama, part hardcore Yakuza film. Miike’s direction shows signs of his usual creativity, until the strain of attempting to elevate the material becomes too much. Sadly, the film’s flashes of brilliance are outweighed by its meandering, emotionally-detached plot, and low-budget elements.