Taboo

Rating:
Summary: Also a big Takeshi fan, but...
Review: ...I wish I had as many positive things to say about the film. I really wanted to like it. I'd heard nothing but good things about director Oshima and his films, especially In the Realm of the Senses. I was also drawn to this as a Takeshi Kitano fan. In the end, however, I couldn't get past the poor acting of the Kano and Tashiro characters. Fortunately, the film has a few talented actors and comedians that make up for it. There are also a few entertaining moments like when Takeshi tries to encourage Kano to switch to the straight path. Also, the swordplay throughout the film is very well done. Recommended with some reservations.

Rating:
Summary: On the edge
Review: Along with gorgeous settings, the movie provides an edge of suspense one wouldn't expect. Overall, the film feels like a dream, picks up in various places, only to recede back to a somber pace. The exchanged dialogue really kept me on the edge of my toes, to see if any of the characters knew more than they would tell behind those stoic expressions... >_< However, I do have a taste for happy endings... which Taboo doesn't exactly provide. But it's not a fairy tale-- it's a character study of Japan in the 1800s. An excellent film to watch alone, and to contemplate afterwards.

Rating:
Summary: Shocking Swordplay
Review: Feudal Japan--Leaders of the Shinsengumi militia, an indpendent "bad cop" faction on the government's side, watch as their two newest recruits face off in a Kendo match--a wooden sword battle during a time when swordmasters received the highest regard, the samurai period. Bearded Tashiro faces off against Sozaburo Kano, who everyone can see is easily the better swordsman. But to the surprise of many, except a few insightful higher-ups, Kano loses. Beat Takeshi's Hijikata character (one of many real Japanese personalities--the Shinsengumi stories alone could entertain you for hours) and Isami Kondo immediately understand, what is going on. The viewer doesn't, but soon will. A thoughtful, judgemental look at Sozaburo, with his boyish face and demeanor, long, smooth hair, and feminine almond-shaped eyes--got it yet?--reveals all. He lost because he may be "involved" with Tashiro, who may not be the only one with "leanings" toward Sozaburo.

It's an interesting revelation to those of us only familiar with the tough samurais of Kurosawa films or the Zatoichi blind swordsman-type TV series; that these men of the sword were also men of a different type of sword. The practice isn't uncommon in history. Gladiators (yes, those during Russell Crowe's Maximus character's time) were also prone to have homosexual leanings, as did many senators. But director Nagisa Oshima does a masterful job of the consequences of a workplace relationship in the context of samurai Japan, and a homosexual relationship at that.

Not to say that the practice is widely accepted. Hijikata even orders a sergeant to take Sozaburo to a brothel to see if he can be turned around; Sozaburo misinterprets the sergeant's friendliness. Internal strife develops as other samurais join the chase for Sozaburo; rumor gives birth to tension that ends in murders, a difficult thing to have in an organization involved in a war. This is particularly of concern to Hijikata, who serves as the narrative voice in many parts of the movie, although Sozaburo remains the protagonist.

Oshima has a flair for creating then sustaining moods, be it soft, dark and suspenseful, or symbolically poignant. The swordfights are excellent, as they should be, being that this is a samurai film. Blood and gore levels are kept a reasonably tame level for this sort of film. This film would be best viewed with some sort of knowledge of the time period; perhaps get some simple reading done, or even watch a few episodes of the Rurouni Kenshin anime series, which deals heavily with the Shinsengumi, Ishin Shishi and the Meiji restoration of this time (search for "Samurai X" then watch the Trust and Betrayal movies).

This is a four-star film that gets three for revealing an aspect of the samurai that many hardcore fans may not be comfortable with. It may taint your ideal of the samurai, but Oshima allows us to accept this slowly, through a beautifully--both in image and in flow--worked film. Highly recommended for viewing, and possibly recommended for your own library.

Rating:
Summary: Another master piece of Oshima trivializing death and sex
Review: Gohatto is the law, or the code. In this magnificent piece from the master of cinema Oshima Nagisa, Gohatto means something like a marshal law. With or without knowledge of the Shinsengumi, the movie offers plenty to viewers who like plots based upon samurai stories. However, instead of the fighting scenes on the battle fields like most of the stereotypical samurai movies, this one is ever so contriving about the human within the samurai with their physical and spiritual projections towards life, death and sex. Kano was portrayed as an utterly handsome youth recruited as a new member of the militia, who was inevitably attracted by a number of other militia members. Whirled within all these conflicting feelings among the wooers, Kano appeared to be composed and cold, with a sole goal towards the "right to kill". Tashiro, the rumored only lover of Kano, was suspected of killing another samurai, Yuzawa, who courted Kano as well and assaulted sergeant Yamazaki. Commando Kondo ordered him to be executed by the hands of Kano with captain Hijikata and lieutenant Soji watching afar. The movie ends with a surreal setting of the wilderness, with drizzling rains and smoky air where Soji and Hijikata exchanged their premise about love among men. Kano was finally able to execute Tashiro and retreated, likely with Soji. With his narration, Hijikata objected the evil behind Kano's beauty which was not only to woo the men in the militia, but also to lead the wish to violate the samurai codes. Stymied a beautifully blossomed cheery tree in one swift swing of his sword, Hijikata's mind was made to crush the beauty so as to preserve the sacred code of samurai.

Rating:
Summary: Taboo is gratifying & pleasing
Review: Have always like Japanese films, not all of course, but quite a few. In addition the culture, history & society of that land is of endless fascination. Must admit also to a liking for the traditional costumes (would be good fun to be a samurai warrior for a short time, but no head cutting please) & of course many of the men that well fill such costumes. To bring an end to the digression, will now talk about the film Taboo. It is a beautiful film. Magnificent settings, good dialogue, interesting story, well told. There are many scenes that will remember for a long time, one is when the older samurai takes our hero to the parlor to be introduced to the pleasures of the feminine sex. Kano takes the hand of the older samurai in such a sweet way, particularly considering how well that those same hands so easily cut off heads. Would I recommend Taboo, you bet you little bippy I would, don't miss it!!!

Rating:
Summary: CHERRIES and stuff .........
Review: Hopelessly foolish tale of a Samurai 'boytoy' savored and flavored by all within reach ..... minimal acting skills with lots of Swordplay [the real stuff, not between the sheets] and many a grunt in between it all.

Lord alone knows why the 18 yearold achieved THAT status - cartoonish face, chilly manner and very little skin exposure.

Only if you must!!!

Rating:
Summary: ai no ken: the sword of love
Review: If one has read Ihara Saikaku short story collection _The Great Mirror of Male Love_ one would know that the homosexual trysts of the chounin, townsmen, merchants, artisans, was viewed as an alternative to the couertesan, geisha, quarters. It was not morally incorrect to have sexual relations with men. There was not even a word for homosexuality, douseiai, in Japan until after the Meiji restoration. In fact, most of the wealthy merchants dailied with both men and women.

The townsmen first emmulated the samurai who had a long tradition of homosexuality among their ranks. Usually involving an older man and a young man, or two men who were roughly the same age.

In Oshima's _Gohatto_ the viewer is introduced to Kano Sozaburo, played by the very effeminate looking Matsuda Ryuhei, _Blue Spring_, a young man who although a merchant by lineage, jojns the Shinsengumi, militia protecting the Shogun, becaise it will give him the opportunity to kill people. However, although Kano is quite skilled with his sword, he is not able to put off the advances of several samurai, including Tashiro Hyozo, played by Asano Tadanobu, _Zatoichi_, _Love & Pop_, _Bright Future_, etc., who unfortnately does not play a larger role in this movie. However, as the movie continues, individuals who desire Kano as a lover begin to die and the leaders of the Shinsengumi, Kondo Isami and Hijikata Toshizo, played by Kitano Takeshi, _Fireworks_, Kikujiro_, _Battle Royale_, etc., who begin the suspect that Tashiro is killing his would be rivals. However, is that truly so?

This is a decent film. The camera work is done well, and the scenery is absolutely lovely. However, it is a bit jumpy. Much of the plot is dedicated to the Shinsengumi's members worrying about their enemies, but this is put on the backburner because of the "love" story, which although it can be entertaning is quite weak, because we are never able to learn anything about Kano emotions, however, I guess the emotionless Kano goes well with Mastuda's wooden acting.

A couple of notes. Kano's forelocks are mentioned several times in the film. When a samurai comes of age he shaves off his forelocks. Also the forelocks signify that a young man is availible to become the "passive" member of a homosexual relationship. After he shaves off his forelocks, he is supposed to become the "active" partner.

Some might find it quite odd when Kitano's character chops the the sakura tree at the end of the film. Cherry blossoms represent the fleeting of life and beauty. Equate this with the feminine beauty of Kano, and it is quite significant

Rating:
Summary: Well filmed and directed
Review: Interesting account of homosexuality in a group of samauri. What got me the most was the effect that the gay relationship had on the samauri as a group and as individuals. Also the growing pressure on the young and beautiful swordsman who was so inexperienced sexually. The swordplay was done well and the sets and camera work were excellant. Fine acting all around.

Rating:
Summary: Sharp, Crisp, Refreshing
Review: Japanese films have quickly become my favourite genre. I knew I had to rent Taboo. The acting is amazing, very believeable. The main character, Kano, is so perfect for the role: I have to admit that, even as a guy, I can say that he's very handsome. I found myself wanting to see more of him, but that's not to say that there was a lack of him.

The first scene of the movie is a Kendo sparring match. Kendo is the Japanese art of swordfighting. Never have I come across such perfect, delightful Kendo demonstrations in a film. Watching the actors use their swords is almost like watching Monét paint in his garden. You always wanted to see it, and there it is, just as sleek and smoothe as you can imagine. The Kendo scenes are very inspiring, and truly remarkable.

Throughout the film, there is a perfect balance of every event. Nothing is dwelled upon, and everything comes in the right amount. Every single image and scene is sharp, crisp, and refreshing. The camerawork is flawless, almost as if we see what exactly what we want to see, like in a vivid dream filled with delight.

Anyone who likes foreign films should watch Taboo. It's quite an amazing film, and I have to say extremely well-done.

Rating:
Summary: A natural or unnatural yearning?
Review: The year 1865 was a time of transition for Japan. The Tokugawa Shogunate would collapse in two years time and the Meiji Restoration, where the emperor would be restored to his full glory was a year after that. Yet political struggles and fighting between those loyal to the shogun and those loyal to the emperor marked that interim period.

The black-robed Shinsengumi are a pro-shogunate, pro-isolationist police force, a kind of elite squad fighting against pro-imperialist forces in Kyoto. They are led by Commander Kondo Isami and Captain Hijikata Toshizo.

The story revolves around Sozaburo Kano, one of two new recruits whose fighting skills impress the two leaders. Kano seems very able even in his first assignment, the execution of someone who broke the Shinsengumi code of borrowing money, dispatching the offender in the traditional way. Yet his effeminate looks and his hair, still in a long pony-tail as opposed to the short-cut adult style, arouse desires in certain officers in the police force, such as his fellow recruit Hyozo Tashiro and threatens the stability of the Shinsengumi. While Kano denies that he is someone's lover, he seems to enjoy the attention he gets from the others. Hijikata seems to think Kano and Toshiro were lovers. He has a dojo bout against Kano, who stands up well, and against Tashiro, who is "one notch lower than Kano." Yet when Kano and Tashiro fight, the former does not fight as well. This inconsistency leads the captain to that conclusion in answer to rumours asking who Kano has taken up with.

One repeated line has the motif of "Does he lean that way" or "I didn't know he leant that way" in regards to officers suspected of desiring Kano. There was indeed a homosexual subculture flourishing in Kyoto during the Tokugawa period and it wasn't forbidden. In the Shinsengumi, though, it's akin to love of youthful male beauty in Roman times.

One thing that might confuse people is the repeated mention of the Ikedaya Jiken (Incident). That was a fight that took place at the Ikedaya, an inn in Kyoto, in July 1864. Commander Kondo and some men attacked and killed eight anti-shogunate activists, arresting twenty. The two samurai who taunt Kano while he is having a bout with Commander Inoue were suspected of being anti-shogunate activists itching for revenge. And Satsuma and Aizu refers to domains held under sway of more moderate anti-shogunate forces who sought reconciliation with the shogunate.

Beat Takeshi (Takeshi Kitano under his acting name) is his usual understated but occasionally potent self, and he does well as Hijikata, even if real Hijikata died in his mid-thirties. His observation that jealousy among men is a dangerous thing underscores what happens when Kano comes into their midst. Historical accuracy is also questionable in the characterization of Commander Kondo, who like Hijikata was in his thirties when he was later captured and executed in 1868 by imperial forces.

The period detail is well captured, down to the dress and even the palanquins, as is the militaristic dojo atmosphere of the Shinsengumi. An interesting study of the attractions to youthful beauty and the jealousies it can lead to.