Skip to main content

They think we’re stupid. They think we’re corrupt. And they’re not often wrong.


Rising Sun
(1993)

I probably give Rising Sun an easier ride than it deserves. It isn’t really much cop even as a murder mystery (it certainly fails to deliver a satisfying resolution) and the attempts to dilute Michael Crichton’s paranoid, xenophobic message about the encroaching Japanese are only partially successful. It also lacks a sufficiently intriguing plot to justify its excessive length. But, as iffy and unlikely as much of the movie is, and riddled with plotholes, I do find it vaguely entertaining.


Much of that is down to Sean Connery, whose wigmaker was trying out ever more daring variations on a theme by this point. It’s quite clear why he executive produced (aside from Crichton apparently writing the character with him in mind); he is burdened by the terrible sacrifice of having to play golf on camera at every opportunity.


Here, he once again adopts the wise mentor role (or Sempai to Snipes’ Kohai; apparently Crichton misinterpreted these terms but that should probably come as little surprise). It’s fun to see him one step ahead, leading an investigation. Although the last time he did so was in the vastly superior The Name of the Rose. And it’s enormous fun to see him fell his opponents with merely a thumb. He can even run much more convincingly than Harrison Ford when he reached the age Sean is here. I’m doubtful that his attempts at speaking Japanese would pass muster, although he hardly has a strong track record at dialects. You don’t buy for a moment that he’d command maximum respect, but he solves that problem by just being Sean Connery. This was also his chance to atone for being turned Japanese in You Only Live Twice. He doesn’t quite do so but at least nominally, as the American/European who has become enamoured by the culture, he’s there to present a respectful insight into an “alien” world.


Which is essentially the problem. For all Phillip Kaufman’s attempts to wrestle the novel/screenplay into a more respectable shape, this comes from a place where the Japanese are an intimidating force, set to gain dominion over the US; not through war but rather superior technology and a ready supply of readies. They can buy anything, and for that they should be met with suspicion and mistrust. They have different customs and different sensibilities. They’re not like us, dammit! I haven’t read Crichton’s novel, so perhaps I’m speaking out of turn (really, though, the source material should be neither here nor there in terms of whether a film is successful), but, even with the greater emphasis on the murder that takes place in the screenplay, it’s clear Crichton’s premise is based on difference. He’s not here as peacemaker, drawing attention to commonalities. Kaufman tries to parry the pointed criticisms of Japanese attitudes and culture (we spend a scene hearing about Tia Carrere’s “shameful” deformity) by foregrounding the very discussion of accusations of racism that met the picture; Snipes repeatedly rejects any suggestion that he is subordinate to Connery (“Mas’r wants me to get the car”) and an attempt is made to undermine the investigation by accusing him of being racist.


Given the adaptation came from Fox, it should perhaps be surprising that attempts were made to make this less controversial. But Murdoch’s empire is nothing if not canny (or, it was anyway). If you’re getting too much bad press about borderline racism, the only response is practical cynicism. Out goes the white Caucasian of the book and in comes Wesley Snipes. That way, even if it looks like there’s intolerance in the mix you can put an African American face to it. Presto, diffused tensions. Screenwriters Crichton and Michael Backes were said to have disagreed vehemently with Kaufman over this, and departed the production post haste.


Snipes isn’t quite at ease playing second fiddle to Connery, and they make a highly unlikely pair of cops, although they’re less of an odd couple than many of the Scot’s teamings during that period. Snipes possibly has too much energy, and only really looks happy when he’s launching into a dust-up. Then there’s the choice to have Sean hide out in the ‘hood with him; it’s the kind of blatant stereotyping Wesley ought to have been shame-faced over (and purely logically, are we supposed to believe a cop would be so readily protected by his one-time homies?) Later, when the movie drops any aspirations towards the fineries of detective work and settles on pugilism, Wesley pulls moves that wouldn’t be out of place in Demolition Man, released a few months later.


Talk of the action leads me back to Kaufman, and the question of what he was doing coming on board in the first place. I can only think, given his surrounding career, it amounted to the old necessity: bankability. Crichton had experienced a significant resurgence at the time (although Spielberg had the real hit that off one of his novels that summer) and hitching your ride to a sure thing probably looked like good sense on paper. To your agent. Maybe Kaufman thought it would be a challenge to turn something so reactionary into a more balanced rumination on cultural exchange? I’d be interested to hear who came up with the anecdote about a Japanese buy-out that was rejected by the US on national interest grounds, only for it to be subsequently sold to different (but this time white European) foreigners. Culture clash can be fascinating, but only if its intentions are balanced. Kaufman can’t hope to right his ship, so he hopes skewering the emphasis in favour of twists and techno turns, and lashings of sex (his recent, and subsequent, preoccupation) will soften things. At least, that’s my assumption. Nothing he’s done, except for 2004’s Twisted, leads me to think he’s less than an astute director. It’s just that this time he finds himself having to scoop the water from a sinking ship with a ladle.


The plot concerns a murder at Japanese corporation during a soiree for a big potential deal (the purchase of Micro Con). A high-class hooker is the victim, and when the police are called in it becomes clear that vital evidence has been removed. Snipes’ Webster “Webb” Smith receives a snappy education in Japanese mores by Connery’s John Connor (no, not that one). Along the way we meet the possibly violent boss’s son Eddie (Cary-Hiroyuki Tagawa, trying a bit too hard), the local head of the corp Yoshida-san (Mako), a dubious US senator set to shout “Laura!!!” at the drop of a hat (Ray Wise), a Japanese tech whizz whose father was African American (Tia Carrere, who is of Filipino, Spanish and Chinese descent), a weasely reporter known as the Weasel (Steve Buscemi, in little more than a cameo, looking like he’s barely out of nappies), and Harvey Keitel as another cop; he’s the obligatory one who doesn’t like the Japanese. You know, they come over and steal our everything, etc. Harvey’s strictly cashing cheques, but he’s still good value; the film’s worth watching just for a scene between him and Connery.


I do like the way Kaufman paces his picture. He won’t be hurried, and the movie is frequently pleasurable enough just in terms of the sound (Toru Takemitsu’s score) and images (Michael Chapman’s cinematography). Indeed, you can all but feel the director’s dismay when he’s forced to succumb to the demands of final act thriller tropes. The last half hour (which changes the murderer from the novel) is by far the weakest section, as the motivations are, if not muddled, insufficiently defined (there is even a pointed suggestion that the murder has not been solved, such is the inscrutability of the suspects). And by this point we’ve already moved far from the procedural aspects of investigating the new technologies that are just around the corner (a laser disc smaller than a DVD! Which can record 12 hours of footage! Cutting off heads and rearranging them!)


The down side of Kaufman nursing his material is the expectancy that, given time, he will unveil some substance to make it all worthwhile. But Rising Sun is essentially shallow, and this isn’t something he’s used to. At times it feels like he’s shining a torch into an empty crate. The murder mystery falters because, like a bad take on Agatha Christie, the red herrings are over-stated (Eddie, right there in the first scene) and the suspects lack even the two-dimensional definition of a Poirot mystery. And there are also pointless attempts to play clever with the structure; the flashbacks/forwards involving Webb are particular offenders.


So yes, this is a bit of a botch. Despite Kaufman’s honourable attempts it’s riddled with Crichton’s assumption of God-given judgmentalism towards other nations. One might sympathise that he was merely reflecting his nation’s basic aggressive posture, so he can’t be blamed completely for casting the first stone. But I don’t feel inclined to cut him any slack. And, since his fevered premonitions of dominion came to nothing, he’s the one who ends up looking silly over his demented prognosis. But I quite like Rising Sun for all that. It’s a messy curiosity, struggling between unseemly source material and its maker’s efforts to be reasonable.

**1/2


Comments

Popular posts from this blog

He’s probably paranoid, high-strung, doesn’t like daylight. You know, has a lot of crumbs in his beard, if he has a beard.

Godzilla vs. Kong (2021) (SPOILERS) I’d like to report I had a blast with Godzilla vs. Kong . It’s lighter on its oversized, city-stomping feet than its slog of a MonsterVerse predecessor, Godzilla: King of the Monsters , and there are flashes of visual inspiration along with several engaging core ideas (which, to be fair, the series had already laid the seeds for). But this sequel still stumbles in its chief task: assembling an engaging, lively story that successfully integrates both tiny humans and towering titans.

It's Dark Age, by Jupiter!

The Dig (2021) (SPOILERS) An account of the greatest archaeological find Britain would know until Professor Horner opened the barrow at Devil’s End. And should you scoff at such “ fiction ”, that’s nothing on this adaptation of John Preston’s 2007 novel concerning the Sutton Hoo excavations of the late 1930s. The Dig , as is the onus of any compelling fictional account, takes liberties with the source material, but the erring from the straight and narrow in this case is less an issue than the shift in focus from characters and elements successfully established during the first hour.

Our "Bullshit!" team has unearthed spectacular new evidence, which suggests, that Jack the Ripper was, in fact, the Loch Ness Monster.

Amazon Women on the Moon (1987) Cheeseburger Film Sandwich . Apparently, that’s what the French call Amazon Women on the Moon . Except that it probably sounds a little more elegant, since they’d be saying it in French (I hope so, anyway). Given the title, it should be no surprise that it is regarded as a sequel to Kentucky Fried Movie . Which, in some respects, it is. John Landis originally planned to direct the whole of Amazon Women himself, but brought in other directors due to scheduling issues. The finished film is as much of a mess as Kentucky Fried Movie , arrayed with more miss sketches than hit ones, although it’s decidedly less crude and haphazard than the earlier picture. Some have attempted to reclaim Amazon Women as a dazzling satire on TV’s takeover of our lives, but that’s stretching it. There is a fair bit of satire in there, but the filmmakers were just trying to be funny; there’s no polemic or express commentary. But even on such moderate t

You stink, my friend.

Mulan (2020) (SPOILERS) Let that be a lesson to Disney. It’s a fool’s errand to try and beat the Chinese at their own game, no matter how painstakingly respectful – or rather, pandering – you are. Indeed, Mulan ’s abysmal $40m box office take in the country – where it did get a proper release, so no plandemic excuses can be cited – feels like a direct rebuke; don’t try and tell us how to suck eggs. There’s an additional explanation too, of course. That Mulan sucks.

Wow. Asteroids are made of farts. Okay. I got it.

Greenland (2020) (SPOILERS) Global terror porn for overpopulation adherents as Gerard Butler and his family do their darnedest to reach the safety of a bunker in the titular country in the face of an imminent comet impact. Basically, what if 2012 were played straight? These things come to test cinemas in cycles, of course. Sean Connery struggled with a duff rug and a stack of mud in Meteor , while Deep Impact plumbed for another dread comet and Armageddon an asteroid. The former, owing to the combined forces of Bruce Joel Rubin and Michael Tolkin, was a – relatively – more meditative fare. The latter was directed by Michael Bay. And then there’s Roland Emmerich, who having hoisted a big freeze on us in The Day After Tomorrow then wreaked a relatively original source of devastation in the form of 2012 ’s overheating Earth’s core. Greenland , meanwhile, is pretty much what you’d expect from the director of Angel Has Fallen .

Roswell was a smokescreen, we've had a half a dozen better salvage operations.

The X-Files 1.24: The Erlenmeyer Flask The Erlenmeyer Flask makes for a fast-paced, tense and eventful ride, but does it make any sense? That less than mattered at the time, but revisiting the mythology arc (for probably the fourth or fifth time) reveals increasingly tenuous internal coherence as the various conspiracy elements begin to pile up and the situations become ever-more convoluted. This will become the Chris Carter’s signature: don’t examine the details too closely, go with the flow. Trust Chris implicitly.

UFO IN MOSSINGHAM?

A Shaun the Sheep Movie: Farmageddon (2020) (SPOILERS) One might reasonably suggest the recourse of the ailing or desperate franchise is to resort, seemingly out of nowhere, to space aliens. Even Police Academy didn’t go that far (to Moscow, yes, but not to space). Perhaps animators think kids have no skills of discernment and will swallow any old sugar-coated crap. Perhaps they don’t, and they will. Ice Age had been enjoying absurd success until Collision Course sent Scrat spinning into the cosmos and grosses tumbled. Shaun the Sheep has been around for a quarter of a century, but this is only his second movie outing and already he’s pulling an E.T. on us. Of course, this may all be part of the grand scheme, and Nick Park is simply doing his bit to familiarise the tots in time for Project Blue Beam.

Careful how much boat you’re eating.

Onward (2020) (SPOILERS) Pixar’s Bright , or thereabouts. The interesting thing – perhaps the only interesting thing – about Onward is that it’s almost indiscernible from a DreamWorks Animation effort, where once they cocked a snook at such cheap-seats fare, seeing themselves as better class of animation house altogether. Just about everything in Onward is shamelessly derivative, from the Harry Potter /fantasy genre cash-in to the use of the standard Pixar formula whereby any scenario remotely eccentric or exotic is buried beneath the banal signifiers of modern society: because anything you can imagine must be dragged down to tangible everyday reference points or kids won’t be able to assimilate it. And then there’s the choice of lead voices, in-Disney star-slaves Chris Pratt and Tom Holland.

By heaven, I’d thrash the life out of you… if I didn’t have to read the Nine O’Clock News.

The Green Man (1956) (SPOILERS) The Green movie from Launder and Gilliat starring Alastair Sim that isn’t Green for Danger. Which is to say, The Green Man can’t quite scale the heady heights of that decade-earlier murder mystery triumph, but neither is it any slouch. Sim is the antagonist this time – albeit a very affable, Sim-ish one – and his sometime protégée, a young George Cole, the hero. If the plot is entirely absurd, Robert Day’s movie wastes no time probing such insufficiencies, ensuring it is very funny, lively and beautifully performed.

Well, I’ll be damned. It’s the gentleman guppy.

Waterworld (1995) (SPOILERS) The production and budgetary woes of “ Kevin’s Gate ” will forever overshadow the movie’s content (and while it may have been the most expensive movie ever to that point – adjusted for inflation, it seems only Cleopatra came close – it has since turned a profit). However, should you somehow manage to avoid the distraction of those legendary problems, the real qualitative concerns are sure to come sailing over the cognitive horizon eventually; Waterworld is just so damned derivative. It’s a seafaring Mad Max. Peter Rader, who first came up with the idea in 1986, admitted as much. David Twohy, who later came aboard, also cited Mad Max 2 ; that kind of rip-off aspect – Jaws birthing Piranha – makes it unsurprising Waterworld was once under consideration by Roger Corman (he couldn’t cost it cheaply enough). Ultimately, there’s never a sufficient sense the movie has managed to become its own thing. Which is a bummer, because it’s frequently quite good fun.