Matt Cooper Films

Original Sin (1992) by Takashi Ishii

A young man begins a deadly affair with a married woman in this relationship thriller. Makoto Hirano (Masatoshi Nagase) accidentally bumps into Nami (Shinobu Otake) as he is getting off the train, following the woman to her work at a property rental agency, which she runs with her husband Hideki (Hideo Murota). Nagase asks for a job and proves himself an effective communicator. Hideki is oblivious to the new recruits designs on his wife however. At first led entirely by Makoto, Nami begins to develop feelings for him, enjoying the attention while her husband frequents bars with younger women. When Hideki discovers their illicit relationship, Makoto realises that in order to have the woman he desires he may have to kill her husband.

Based on a novel by Bo Nishimura and directed by Takashi Ishii, “Original Sin” delivers a tale of high drama as Makoto and Nami’s secret is threatened and the stakes are raised as what appeared to be a casual affair takes on terrifying new possibilities. The film takes its time to build up the three main characters before delivering a shocking final act as emotions that have lain buried come frothing to the surface. It plays out as a modern day tragedy, with Makoto and Nami’s first innocuous meeting at the train station taking on a horrific significance as it marks the first step on their doomed paths. The main cast do a stunning job with the characters; Masatoshi Nagase slowly evolves Makoto’s easy charm into something more sinister; Shinobu Otake’s masks Nami’s deeper passions with a veneer of naivete; and Hideo Murota delivers a heartbreaking performance of a man whose betrayal at the hands of his wife feel sickeningly real. The simple beauty of Takashi Ishii’s direction is perfect for a film in which the everyday nature of the love triangle belies the depth of emotion it represents and the psychological pain inflicted through infidelity and unrequited love. In two sequences between Makoto and Nami, one in which they walk alongside moored boats at sunset and another in which they share a conversation by an open window, Ishii manages to capture their relationship perfectly, the subtle manoevering, the feints and gambits of their dialogue, and the passions that threaten to overwhelm them entirely.

“Original Sin” is a must-see for fans of emotional thrillers. A simple plot that is perfectly executed, the film draws you in with its tale of forbidden love before turning to something much darker as it progresses. Both the acting and direction succeed in maintaining tension as the three players are drawn into an unavoidable tragedy.

Matt Cooper Films

Getting Wild with our Monkey (2001) by Hideaki Sunaga

Struggling writer Sashi (Masatoshi Nagase) is contacted by famed film producer Fujiyama (Hosei Komatsu), who offers him a large sum of money to write a screenplay for his upcoming film. Overjoyed at his sudden reversal of fortune, Sashi sets off to scout the locations Fujiyama wants him to see for the film. However, things take a bizarre turn as Sashi runs into a sequence of unusual characters and unexpected situations.

Directed by Hideaki Sunaga, from a screenplay by Norio Kida and Naoki Kubo, “Getting Wild with our Monkey” sees its protagonist on a peculiar odyssey as he attempts to follow through on his promise to his benefactor. The plot is engaging in as much as you never know where his journey is going to lead Sashi next; finding himself repeatedly at the mercy of others. The comedy is often subtle, revolving around the situations Sashi finds himself in and his bemusement at his fate. Unfortunately, many of these scenarios fail to develop into something truly hilarious, instead remaining as amusing diversions. It is clear early on that things are not going to go as planned for Sashi and we follow him through his various travails until the idea that he will ever complete the screenplay he was hired for disappears entirely. One of the most entertaining sections is his brief stay with Tajima (Minoru Torihada), whose unhinged performance captures both the comedy and danger of Sashi’s predicament.

As inexplicable as many of the situations are in the film, there nevertheless appears to be a thematic depth that centres on religious beliefs about life and the human experience. There is reference to a giant Buddha, that is cast in black and white, symbolising the light and dark of human experience; there is also the final moments of the film in which Sashi repeats the names of Hindu deities Shiva and Kali, the latter being the god of time and death. Sashi’s journey, guided along by the promise of worldly riches takes him through danger and dissatisfaction, until he emerges at the end, working in a café, still awaiting the arrival of the man who promised him a release from his struggles. In this way the film can be seen as a metaphor for human endeavour, chasing the wrong goals of wealth and success, while failing to appreciate the richness of life itself. “Getting Wild with our Monkey” is a fun diversion to life that in its peculiarity raises questions about what we are truly living for.

Matt Cooper Films

The Hidden Blade (2004) by Yoji Yamada

When a former friend is found guilty of treason, a low ranking samurai must choose between duty and personal feelings. Munezo Katagiri (Masatoshi Nagase) is a samurai living with his sister Shino (Tomoko Tabata), his mother, and a maid named Kie (Takako Matsu). Fellow samurai Samon (Hidetaka Yoshioka) marries Shino and Kie moves out after marrying into a merchant’s family. When Munezo discovers that Kie is being mistreated by her husband and mother-in-law, he rescues her and takes her back into his house. Despite burgeoning feelings between the pair, their social status prevents them from marrying. Later, Munezo’s friend and former sparring partner Yaichiro Hazama (Yukiyoshi Ozawa) returns from Edo, after being found guilty of plotting against the Shogun, and Munezo is ordered to kill him. Meanwhile, their rural clan is getting to grips with the new firearms technology coming from the West.

Based on a short story by Shuhei Fujisawa and directed by Yoji Yamada, “The Hidden Blade” offers a look at life in the samurai era, with great attention to detail in sets and costume design. Every scene captures the conditions of the time, and small elements help give a sense of believability to the action. The cast are also excellent in their roles. Masatoshi Nagase is great as a samurai burdened by his feelings for Kie and the various loyalties he has to family and clan; Takako Matsu’s Kie is also sympathetic as a woman whose naivete is brutally stripped away to show a resilient core. The film’s main problem is in attempting to juggle three distinct plots, Munezo and Kie’s romance; Hamaza and Munezo’s clash; and the comedic interludes of the clan learning to use modern weaponry. The film often abandons these plots for long stretches and the three have little to do with each other, leaving the film feeling disjointed at times. There are great moments, such as the humorous attempts to teach these rural samurai how to use canon; and some incredible fight choreography when Munezo meets with his sword-instructor (Min Tanaka) and the clash with Hamaza; but they feel spliced together rather than having any thematic ties. Isao Tomita (who also provided the score for Yoji Yamada’s 2002 film “The Twilight Samurai) provides an emotional score that accompanies the melodrama and Mutsuo Naganuma’s cinematography likewise captures the period in all its fading glory.

“The Hidden Blade” is a film that depicts the lives and duties of samurai during a period when the old ways were dying. Munezo’s decision at the end of the film to forsake his rank and follow his heart typifies this new ideal of personal freedom that was begining to flourish at the time. The story of Munezo’s love for Kie is by far the strongest part of the film; with Hamaza’s plot being underwritten and the firearms drills side story going nowhere. If the film had remained more focussed on this relationship, using the others as background, then it would have been more impactful. As it is the film offers a number of incredible moments, but fails to present a cohesive whole.

Matt Cooper Films

Jigen Daisuke (2023) by Hajime Hashimoto

Tetsuji Tamayama stars as the hitman with a heart of gold in this neo-western-noir based on the popular Monkey Punch manga character. Following a shoot-out in which his famed gunslinging abilities are let down by a hairsbreadth accuracy defect in his gun, Jigen (Tamayama) returns to Japan, where he hasn’t been for years, to find a legendary gunsmith named Yaguchi (Mitsuko Kusabue). On arrival he finds that Yaguchi has given up the underworld and is now focussed solely on watch repairs. However, when a young mute girl (Kotoka Maki) arrives bearing a token from a former friend, Yaguchi asks for Jigen’s help, promising to fix his gun in return.

Jigen is a traditional outsider hero, finding himself drawn into helping people for his own ends, but slowly learning to love his young charge. The character is something of a blank canvas, as is typical with this kind of protagonist, as we see him early in the film travelling the world and showing of his quick-draw abilities. Even when he returns to Japan he seems to have few contacts or connections and we learn little about his life. The film has an interesting mix-and-match tone, with some fantastical sets, such as Deigyo-gai, the home of the cities criminal underclass, alongside many scenes shot in the ‘real world’. It consistently steps a toe outside the bounds of reality, with some comedically over the top fight sequences. The best example of which is perhaps the central villain Adel (Yoko Maki), who performs a backflip in her wheelchair, while firing a gun at multiple assailants. This whole sequence is beyond ridiculous, but in keeping with other moments in the film, such as Jigen’s own preternatural skills with a weapon, or the other antagonist (Masatoshi Nagase), a man who is able to shapeshift his appearance at will. While the story is one that has been told before: lonely hitman has to take care of a young child, the film does a good job with it, layering in several characters, such as Yaguchi, the villains (whose nefarious schemes are as over-the-top as their characters), and some excellent set piece fight sequences. The score also has a western-noir feel, moving between the high-octane action of fights and the emotional moments. A fun watch and it will be interesting to see where the character of Jigen goes in any potential sequels.

The film’s antagonists are attempting to steal hormones from children in order to produce a drug that halts the aging process. Reminiscent of the procedures in “Helter Skelter” (2012) it is a rather gruesome plot for a film that seems quite light-hearted on the surface.The aging Yaguchi stands in stark contrast to Adel, whose obsession with eternal youth sees her becoming increasingly unhinged. Meanwhile, Jigen himself is clinging on to using his first gun, suggesting that he too is tied to his past. In one interesting scene the characters discuss a version of the “Ship of Theseus” thought experiment, questioning whether Jigen’s gun, which has had every part replaced, might still be the same weapon. Jigen explains haughtily that the memories remain, suggesting that this is what is most important in acscertaining whether it is the same item. In the same way the characters appearances, shown most prominently in the chameleonic Kawashima, have little bearing on who they are, it is what is in their heart that is important. While Jigen might exude the aura of a cold-hearted killer, he is inside someone who when it comes to it decides to protect the innocent.

Matt Cooper Films

Under the Stars (2020) by Tatsushi Omori

A young girl begins to question her parents belief in an unusual cult in this examination of faith and family. As Chihiro Hayashi suffered with terrible exczma as an infant, her father was recommended a miracle water, apparently imbued with cosmic energy. When they rub this on Chihiro she is cured of her painful skin condition. Now at primary school, Chihiro (Mana Ashida) and her parents are still part of this cult, drinking the ‘blessed’ water provided by the organization daily, while her parents are further involved in odd rituals of dousing themselves in water, and buying various products from the sect. Chihiro’s older sister (Aju Makita) is sceptical, refusing to completely follow their rules, and eventually distancing herself from them. However, despite the teasing of her friend Nabe (Ninon), and the concerns of her uncle Yuzo (Kohei Otomo), Chihiro is reluctant to leave her parents.

Based on the book by Natsuko Imamura, with a screenplay by director Tatsushi Omori, “Under the Stars” is a touching coming-of-age drama about an often overlooked problem: that of children growing up in religious households, unable to reject their parents beliefs. While Chihiro’s parents are not violent or abusive, in fact they are shown as loving and kind towards their daughter, they believe in a nonsensical placebo: something that is ridiculed by many around Chihiro. While their behaviour is bizarre to the audience, it appears perfectly natural to Chihiro, who has grown up surrounded by these beliefs. Mana Ashida gives a great performance as the young Chihiro, dealing with regular schoolgirl issues such as a crush on her teacher Minami (Masaki Okada) as well as the conflict between her parents, friends and extended family. She is well-adjusted in spite of her parents asking her to do strange things, such as wearing a pair of glasses to alter the way she sees the world; or drinking the expensive bottles of water in order to prevent illness. Masatoshi Nagase and Tomoyo Harada are also excellent as her loving yet misguided parents, playing straight-faced their adherence to the cult’s practices. They are sympathetic figures, especially as their entry to the cult was prompted by their daughter’s illness and seems well-intentioned in attempting to prevent harm to her and others. Chihiro is caught between two worlds, exemplified by her school friend Nabe, and Sanae (Ai Mikami), another child brought up in the cult. The film avoids sentimentality, with most of the responses to Chihiro’s family being confusion or mild amusement. Chihiro’s uncle Yuzo’s attempts to break them out of this mindset is one of the more emotionally raw moments, showing his distress at what has happened to his sister’s family.

“Under the Stars” ends on an ambiguous note, showing the ludicrous fiction that Chihiro’s parents are living, yet at the same time making clear their love for their daughter. This echoes the film’s central theme that good people can be easily manipulated by these groups. Minami teaches mathematics and science, suggesting that Chihiro is stuck between worlds of fact and fantasy, reality and religion. Having being misinformed her entire life, and slowly seeing the truth, she nevertheless clings to her parents and wants to please them. The film sheds light on the practice of cults making money off credulous and well-meaning individuals, while depicting the positive and negative aspects of piety, in Chihiro’s bond with her parents and their adherence to the organization. A powerful film about the tragedy of growing up in a cult, and the strength of human relationships and religious convictions.