July 28, 2016
The Great Killing –
Japan, 1964
The Great Killing
is a brutal film. It’s also an overly complicated one, containing such a
multitude of characters that trying to keep track of them all is practically an
effort in futility. The film begins just after an unsuccessful revolt, which
many suspect was brought down after a betrayal. In the film’s opening scene,
local authorities are tasked with bringing those involved to justice, and if
suspects resist arrest, they’re told, it is permissible to kill them. The
round-up is shown during the opening credits, and its violence is surpassed by
the interrogations that occur subsequently, one of which involves pouring
scolding hot water on a prisoner to make him talk. As I said, brutal.
As usually happens in situations like these, authorities
make little attempt to distinguish regular people from the conspirators, and innocent
people are apprehended for doing nothing more than walking outside to see what
the commotion is. In the chaos of the round-up, a young man named Geki Nakajima
enters the home of a local samurai named Heishiro Jimbo and asks for refuge.
Unaware what is going on just outside his door, Heishiro does not refuse the
request, instead asking his wife to look outside and see if anything is afoot.
Soon Nakajima and Heishiro are being marched away by government troops, and
Heishiro’s wife lies dead in the street. Again, brutal.
Like many other films in the genre, The Great Killing then turns into an introduction of a variety of
characters who will eventually make up a team that will make one last stand
against the great evil in the film, Lord Sakai. Heishiro is eventually
recruited by an enigmatic young woman named Miya; she then introduces him to
Tomonojo Hoshino, a family man who openly took part in the rebellion; and later
in a Buddhist temple, Miya runs into Sennosuke Kusaka, a slightly psychotic
individual who believes he has been selected by a higher power to be the one
who will take down Sakai. Eventually, a full team is resembled, much like it is
in The Seven Samurai, a task is
given, and they set off on what is likely a suicide mission. What separates The Great Killing from other films is
the fact that the team, while being on the morally correct side, are not always
the most honorable of characters, and this gives the film a level of complexity
that other ones lack. For example, in one scene, we witness one of these
character commit a truly despicable act; in the next, we are asked to root for
him in combat.
It is not surprising that a film like The Great Killing ends in violence and turmoil, and for many
viewers, this will be one of the film’s key draws. However, what worked best
for me were the film’s calmer moments – the gentle early scene between Heishiro
and his wife; the warm conversations involving Heishiro and his fallen samurai
friend, Matanishin Asari; the warmth in the scenes featuring Hoshino and his
family. Such scenes pulled me in, establishing characters that I empathized
with, and in some cases, making what these characters do later on all the more
shocking and terrible.
Adding to the film’s frenzied feel is director Eiichi Kudo’s
amazing and varied camerawork. During conversations between the film’s more
heroic characters, Kudo’s camera is close to the actors, making it seem as if
we were standing right next to them as we would were we part of the
conversation; during other scenes, the camera steps back, viewing events from a
considerable distance and creating the impression that we are on the outside
hearing conversations we are not supposed to be privy to. And then there are
the film’s action scenes, in which Kudo appears to be operating a hand-held
camera and running along with his actors. These scenes have a frantic feel to
them, as the camera shakes and Kudo tries to keep up with the action. At times,
we seem to see the battle from the perspective of one of Sakai’s foot soldiers;
at other times, the perspective we see is that of a villager trying to get out
of harm’s way. The technique will be frustrating to some, for it denies the
film the focused tragic beauty that usually accompanies scenes in which
characters make their last stand. Here, what we see could hardly be described
as depicting beauty or something impressive. In fact, what it most conveyed to
me was utter desperation, which seemed entirely appropriate.
In the end, The Great
Killing is not an easy film to watch. It is unnecessarily convoluted, and
at times, its characters appear to be talking to the audience rather than each
other, the result of having too much going on and not enough time to convey it
naturally. I found myself a bit frustrated by the film’s first half with its
persistent introductions of characters and subplots. Still, the second half of
the film makes up for that by making the stakes abundantly clear and fully
illustrating the depths of the characters involved. I felt for Miya and Heishiro,
and I understood his powerful assertion, “This is the world we created.” As the
film makes clear, it’s not the world they choose to accept. (on DVD)
3 stars
*The Great Killing is
in Japanese with English subtitles.
No comments:
Post a Comment