Taboo (1999)

Japan in the 1860's was in a tense political situation with the Shogunate and the Emperor in conflict over whether to trade with foreigners. Though the country was still mostly isolated, the winds of change were in the air. Long-standing traditional institutions were withering away, and soon the supremacy of the samurai would give way to that of the merchant.

Nagisa Oshima's newest film TABOO (GOHATTO) examines this socio-political decline on a personal level. The film, which was nominated for a Golden Palm at Cannes 2000 and won Best Film recognition at the St. Petersburg Festival of Festivals in St. Petersburg, Russia, is a truly riveting, yet exquisite film about homosexuality among Edo-period samurai. It is worth seeing for the simple, streamlined beauty of its images and its potent drama.

Kyoto, Spring 1865. Hyozo Tashiro (Tadanobu Asano), a low-ranking samurai from the Kurume clan, and Sozaburo Kano (Ryuhei Matsuda), an effeminate 18-year-old rich man's son, join the Shinsengumi, a conservative samurai military unit loyal to the Shogun. Deceptively demure at first, the boy Kano quickly proves his acumen for killing when ordered to execute a wayward samurai. Tashiro, struck by Kano's feminine beauty and odd power, seduces him and they become butt buddies. Other men in the unit are also taken with Kano, and soon their bodies start piling up, murdered by a not-altogether-unknown assassin.

The troop leader Isami Kondo (Yoichi Sai) and his second-in-command Toshizo Hijikata (the famed actor-director Takeshi Kitano) observe the situation and react to it differently. Kondo wants Sozaburo to pay with his life for his alleged transgressions, while Hijikata, who is as wise and merciful as can be within the samurai code of conduct, adopts a wait-and-see attitude.

The most intriguing and surprising element in the film is how fairly tolerant of homosexuality the samurai leaders are, up to a point. The two commanders even discuss the subject with bemusement. When it becomes clear that the passions are running just a little too hot and threaten the cohesiveness and then the very integrity of the unit, then and only then is Hijikata galvanized into action. The last sequence of the film, when he makes his decisive move, is one of extreme grace and potent symbolism.

Takeshi Kitano's performance is measured and calm. His character seems to have attained an inner peace that the others have not. Kitano puts a human face on a duty-bound samurai. He previously acted in Oshima's 1983 Japanese-British co-production MERRY Christmas, MR. LAWRENCE, playing a sarcastic sergeant in a Word War II P.O.W. camp who cracks jokes about homosexuality. Upon closer inspection, TABOO shares some striking similarities with that film. Both films take place in a military setting and deal with homoerotic themes. The two films are also outstanding in their exploration of the endlessly conflicting aspects of Japanese culture: prone to militarism and merciless brutality on one hand - aesthetically and spiritually attuned on the other. Oshima's images are colder, more austere and subdued (sub-dude?) in TABOO than in MR. LAWRENCE, but are also no less resplendent.

Fmovies: Gohatto is a movie done extremely aestheticly in a true Japanese tradition (it almost seems that colors were specially chosen for each scene to give you the incredible feeling of understanding what will happen next). It is erotic, which is cruel and sweet at the same time. Not to mention - hot ;)

The soundtracks create a weird mystical effect, giving the events a slightly different meaning and keeping the viewer glued to the screen even when nothing is going on.

The movie leaves more questions then it answers, keeping your thoughts on it for a long time. It is full of symbols that are not easy to decode having a non-Japanese menthality. Kept me wanting to see it over and over (like it usually is with anime), each time finding something new and incredible.

A perfect work of art, by a true master.

Gohatto: 7/10

This was the only Kitano movie I had seen until Brother, and I thought he was someone else in the movie. And then I saw a "more impressive" actor... who turned out to be Kitano. Doh! The story of this was very interesting, and I'm not sure how it'd go over in America. It explores homosexuality and it's relative openness in the samurai, and is based around a handsome young man, who a lot of men fall in love with. These men start turning up dead, and a jealous member of the clan is suspected. The movie gets confusing at times, but I think that is more because of a cultural difference than script downfalls. Kitano is brilliant in this one as the captain who seems to be struggling to hide his affections for the young man (Ryuhei Matsuda as Sozaburo Kano). There are several branching storylines, but they all lead back to the main one. Not a masterpiece of anything, but more quality Asian cinema.

Taboo fmovies. Ïn 1865, in Kyoto, in a period of fights among different clans, Sozaburo Kano (Ryuhei Matsuda) and Hyozo Tashiro (Tadanobu Asano) join a samurai legion to be trained as warriors. The beauty of the manipulative Kano sexually attracts the other men, including high ranking commanders, and he becomes lover of Tashiro.

"Gohatto" is a weird movie for westerns like me, who are not familiarized with Japanese culture. However, it is a beautiful movie, with a stunning music score and a wonderful photography. Although I have not completely understood the plot, specially the conclusion of the story, I found this movie very intriguing and I liked it. My vote is seven.

Title (Brazil): "Tabu" (Taboo")

I happened to catch this film on BBC4 last night. My attention was immediately caught by the stunning Japanese setting, and as the film progressed, by the unusual storyline.

This film is about the Shinsen militia: a group of samurai in shogun times. The story explores the homoerotic tensions between the men, as well as the conflict with another militia (group of samurai).

In a way, not much happens in the film, but at the same time, it is fascinating from beginning to end. Takeshi 'Beat' Kitano gives an impressive performance as one of the older samurai, and in fact all the actors are very good.

While the overall atmosphere of the film is quite dark, there are many funny moments which lift the mood. The humour is quite subtle - no slapstick here.

The film is visually stunning, with wonderful use of light and colour to emphasise the mood of each scene. The Japanese mountains, lakes, and buildings look gorgeous.

There are some moments in the film which are quite graphic, both sex and violence. However, this is not done in a gratuitous or grotesque way, and I didn't find it offensive.

Overall, as another reviewer has commented, this film is somewhat cold. Despite the powerful events that happen in the film, they don't really emotionally involve you as a viewer. The film almost feels like a parable rather than a 'realistic' story.

In summary, this is a gorgeous-looking film with an unusual subject matter, which is well worth watching.

Nagisa Oshima's work is always visually exquisite. He has that finely honed, generations-old Japanese eye for detail which has served his artistry well over the last 50 years. It reveals itself to be the difference in the world of film that a Monet, Michelangelo, or Van Gogh is to sidewalk chalk drawings.

Decades ago, Oshima set out explore new territories, to leave formula and standard, approved plot progressions behind and delve into the deeper recesses of the human experience. What comes out of that are works of storytelling which require more attention and involvement on the part of the viewer than your typical Michael Bay or Renny Harlin flick. Not that pure escapist entertainment is a bad thing; far from it. But you don't generally come away from one of those features wanting to go sit at a table with your friends, staying up to the wee hours discussing what you've just seen and all the ramifications of each scene. In simpler terms, they don't enrich your intellect! (I think even Bay?s and Harlin?s most ardent fans can agree with me on that part :-) ).

"Gohatto" is the Japanese word meaning "Taboo" in its simplest form, so you know going in your about to see something out of the ordinary. Oshima has long had a fascination with the dichotomies in Japanese culture (and frankly most cultures) between how behavior is proscribed and how the more primal, instinctual urges (mostly sex) always find their way to the surface in spite of those mores. Oshima has also found a fascination in seeing how both Western and Eastern cultures have, at one time or another (or more than one), put strict moral taboos on homosexuality, adultery, and even on prostitution, but these strictures have never eliminated or even slowed down their existence.

"Gohatto" takes us into a world 150 years ago where such things don't exist on the surface but are fully integrated into what is real life just beneath. Whether such subject matter, or exploring Eastern cultures, particularly interests you or not, if you're interested in being challenged by the art that you see, "Gohatto" (like Peter Greenaway's recent "The Pillow Book") is a must-see film.