Elegance of Miike?
The hell you say.
The man who gave us Ichi The Killer? The man who shocked people’s delicate sensibilities with Visitor Q? No, surely no. You must have the wrong guy. You mean to say that he made a film that gestured with grace and style towards the works of Kurosawa? Are you…saying that a Takashi Miike film was…restrained?
Yes. That is precisely what I am saying.
Is that what I liked about it. YES. Is that what I loved about it YES. Did I miss all the usual “Miike-isms”? No, because they were absolutely there, you just had to look a little harder for some of them. They were studied, intentional, and entirely present. Yet, during the course of the film, I came to believe that it was entirely possible that some of the things that we have come to take for granted as being part-and-parcel of a Miike film have been subsumed into this film under the guise of narrative and character development.
13 Assassins is not just a good film, it is a wise film that pays homage to Japanese cinema on the whole and yet also makes raging commentary on it and it is not in a soft voice. Miike can be accused
of many things but having a soft directorial presence on-screen is not one of them. People know who the man is and not only that…they know what he is capable of. In a sense, Miike is like one of the characters within his own film- but not the reserved, trained, samurai variety. No. Miike is the loose cannon-character.
He is the one who, when you see him on-screen, your first thought (if you’ve seen a couple of samurai epics from the “good old days” of Japanese cinema) is: Ah hah! This would be the Toshiro Mifune role!
Now, due to my stubborn refusal to give away spoilers, I don’t want to go into too much heavy detail on the actual narrative. Details-wise, this film involves samurais, the shogunate of feudal Japan(in particular the Edo period), and a future leader of the shogunate who is relentless in his sadism.
Here is the story’s bottom-line: Dear awesome samurai guys, please get rid of the raging prick who will be taking over the country in a few years. Regardless of the fact that we’re in a “time of peace” and your samurai-status has been rendered practically irrelevant, we know you can do a good job…or at least die trying? OKTHXBYE.
So you have your standard underdog samurai picture. However, this film is far from standard. While it may rely on the well-worn path of honor and the Samurai Way, it deals in issues that are much further reaching. Upon viewing 13 Assassins, I was honestly blown away due to the shattering number of things that it tackles without being preachy or hitting you over the head.
While Miike can place politics in his films, they are, many times, too balls-out crazy to grab them on the first (or fifth) go around. And, unlike many of my good friends, I’m not always in the mood to watch and/or study Miike. Thus I will openly admit: no, I have not looked for political insignias in Dead or Alive and I have not done a full psychoanalytic and historical perspective run-through of Visitor Q. I honestly have no doubt that the stuff is there. But it is much more…well…subtle. Due to the high-shock and/or hyperbolically violent nature of his films, any substantial messages seem to be the subtle aspects in a non-subtle text. But that’s Miike. He’s not a stupid man.
Not only does is this film displayed in a manner that is breath-takingly gorgeous and intensely well-constructed, it is a high-adrenaline ballet that will leave you gasping for air, and prying your hands from the seats. Tension, drama, EPIC (and I’m not using that word lightly) action, all condensed into a historically-based Japanese samurai film.
While ideas of war and peace are investigated, there are other concepts that are even more fascinating. Miike uses the rhetoric of the samurai film to investigate the state of Japanese cinema today. Wildgrounds.com quotes Miike as saying that “Maybe older japanese films have much more energy and are just much more interesting than films that are currently being made now (…) When it comes to making movies, we [Japanese people] sort of lost a lot of things over the years and we had a feeling that if we try to get back to, try to make movies the way they used to make them, we might learn, gain something.” In a sense, what Miike does through various character compositions and structures is rip apart modern Japanese cinema and let us know exactly what he thinks. In order to do this in the most effective manner, he chose to use the samurai film to do so.
Miike is not a fan of standard/traditional cinematic tropes, so one might find it curious for him to do a picture like 13 Assassins. But looked upon more closely, this seemingly traditional film plays more like Yojimbo with a machine gun. Not literally, of course, but in the content. Every choice that Miike makes in this film is careful and considered, meticulous and studied. However, he seems to be attacking more than just the fictional enemy in the narrative.
What I found the most attractive in this film is that while he celebrated the Old Guard, he ripped it apart. 13 Assassins felt to me like a type of Trojan Horse of Japanese cinema. While Miike certainly wanted to bring a reverential treatment to those that went before him, he also wished to inspire critical thought. But this is being done by working from inside the system.
The juxtaposition of older and younger samurai within the picture and their individual experiences underscores this intention quite nicely. In what I see as one of the most seminal sequences, some of the elders look on as the younger men deal with their first kills. The pregnant pause that follows this action is telling. Not only does it speak of the older men’s high level of experience and familiarity with the act of killing (they are clearly more seasoned professionals at the task) but it also illuminates the position and mentality of the younger men. While these young men may be good at what they do and brave as hell, they have not yet had to, as they say, “withstand the slings and arrows” of Real Action. Facing the reality of what they were about to engage in was a very important feature of this film. It is almost as though Miike was making a kind of commentary about older/younger filmmakers. Both are strong assets to the film community as a whole and bring essential components to the “film battle.” But if we follow Miike logic, the younger filmmakers take some influence and what they need from the elders but will still do it their own way and manage to kick the living crap out of the enemy, no matter how scared they are to do so.
For Miike, film is not a light, airy subject. It is not simple entertainment to be tossed off in the manner of an overblown comedy or a fluffy melodrama. His take on cinema is not unlike that of the Russians in the late 1920’s. What I’m about to say may seem far-fetched, but work with me a little. If you know your history, Russia in this period was a slightly crazy place to be. They were moving and shifting a whole lotta stuff around, and one of the things that they had to make some decisions on was the film industry, a very popular part of Russian culture. The politicians were no dummies. They knew what they
had. But how to figure this out? What was crucial for them was the technological aspect that was coming into play alongside their incessant politics. They realized that with sound pictures, they could get the message across with more fervor and, to be frank, easier. In addition, Anatoly Lunacharsky, who, as the People’s Commissar for Enlightment from 1917 until his forced resignment (yes, due to the very same lovely politics) in 1929, recognized one of the other major Catch-22 issues about film that we still deal with today. He stated, “Cinema is an industry, and, what is more, a popular industry.” (1)
Additionally, at this same time, in March of 1928, part of the Soviet desire to get things “together” with the cinematic world was to construct some kind of set of rules and regulations (they were into that kinda thing- then again, seeing the Hayes Code in the USA a few years later, seems like we were too…). So a bunch of folks, including industry professionals such as Sergei Eisenstein, Dziga Vertov and Vsevolod Pudovkin, went to the Party Conference on Cinema and tried to participate. They were able to do so…but only to an extent. Due to the Soviet way of thinking about the film industry, it became a full-on policed machine, commercialized and propagandized mercilessly.
One of the key sentiments put forth within the statements that evolved from this Conference was what cinema was really for and what it really did. While the Soviet mentality geared it towards political intent, the facts, as stated, were not entirely incorrect. As Richard Taylor writes, quoting some of the Soviet documentation, “Party leadership had been determined to develop a Soviet cinema that was ‘the most powerful weapon for the deepening of the class-consciousness of the workers, for the political re-education of all the non-proletarian strata of the population and above all the peasantry.'” Cinema for the Soviet Union was a weapon. But it wasn’t just the Soviets who then realized this. They were just some of the first to put two and two together. Say what you like about communism and the rest of it, but they were no fools when it came to media practice.
So I’m sure you’re wondering at this point what any of this has to do with Takashi Miike and/or 13 Assassins. I argue that it all does, in some funny way. Perhaps not down to political detail, but on a larger scale. See, Miike is down with Lunacharsky’s struggle. He gets it. To date, Miike has directed 83 films in 20 years. That’s off the charts. He knows he can make a bit of change making movies, so he does. But he also has the mentality that was sculpted from all of the different filmic and political practitioners of Soviet Russia: film is a weapon. And he can wield it any way he wants. And he does exactly that.
When asked about making the audience happy, Miike was quoted as saying that he doesn’t even think about it. He said, “there’s no way for me to know. To try to think of what makes for entertainment is a very Japanese thing. The people who think like this are old-fashioned. They think of the audience as a mass, but in fact every person in the audience is different. So entertainment for everyone doesn’t exist…” (2) He also added that even as hard as he works, it is that hard work that motivates him. It doesn’t necessarily wear him out. He sees it differently. He states,
We have to change the negative things into positive. In today’s Japanese film industry we always say we don’t have enough budget, that people don’t go to see the films. But we can think of it in a positive way, meaning that if audiences don’t go to the cinema we can make any movie we want. After all, no matter what kind of movie you make it’s never a hit, so we can make a really bold, daring movie. There are many talented actors and crew, but many Japanese movies aren’t interesting. Many films are made with the image of what a Japanese film should be like. Some films venture outside those expectations a little bit, but I feel we should break them. (3)
Miike’s philosophies on the audience and the Japanese film industry are the essence of 13 Assassins and why it is so beautiful and why it works. He went into the film to do a remake, an undergoing he had taken on before with Happiness of the Katakuris (and possibly more- I will openly admit I have not seen all 83 things the man has directed!), but did it his way. What was his way? Traditionally bound, with a heavy Miike visual lens and narrative cradle.
I refuse to use the word “mature” here (it’s condescending- that phrase “his most mature work to date” makes me want to throw things). But I’ve seen it used in other reviews and I wish that people could see what his actual point in creating this masterpiece was. There is no maturity here. He didn’t all of a sudden go from a kid to a grown-up due to a FILM. And frankly, Audition is a quite lovely film, Katakuris is incredibly skilled and Ichi‘s chaos requires a very defined sensibility. I don’t think we’ll be seeing a mess of costume dramas out of Miike anytime soon. THANK GOD.
See, 13 Assassins requires that you look a little closer. This film has teeth- and they’re sharp. Like the Soviet Party in the late 1920’s, Miike has a cinematic gun and he knows how to use it. This film’s careful deliberation was like a slow-acting poison that was more of a commentary on the pretentiousness of modern “art” cinema or any overdone/overpriced cinematic exploits than anything else. I have a feeling he’s not a fan. While there was clearly money spent on this film, none of it was wasted. Which makes me even more glad that there’s a guy like Miike around to show us how to do things right and properly, while everyone else is failing so miserably.
If you can see this film on the big screen PLEASE DO. It is way more affective. Laugh, hoot, holler, JUMP UP AND DOWN IN YOUR SEAT!! I know I did. In fact, I will probably go see it again just to get that same adrenaline rush. 13 Assassins– the samurai movie that provides your body with the same endorphin-like energy as heavy exercise and sexual attraction. Yeah, I liked this movie.
(1) Anatoly Lunacharsky as quoted in Taylor, Richard. “A ‘Cinema for the Millions’: Soviet Social Realism and Film Comedy.” Journal of Contemporary History, Vol. 18, No. 3. Historians and Movies: The State of the Art: Part 1 (Jul. 1983). p439-461.
(2) Interview with Takashi Miike, Midnight Eye.com. http://www.midnighteye.com/interviews/takashi_miike.shtml
(3) Interview with Takashi Miike, Midnight Eye.com. http://www.midnighteye.com/interviews/takashi_miike.shtml