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

I added sixty on, and now you’re a genius.

The Avengers 4.3: The Master Minds
The Master Minds hitches its wagon to the not uncommon Avengers trope of dark deeds done under the veil of night. We previously encountered it in The Town of No Return, but Robert Banks Stewart (best known for Bergerac, but best known genre-wise for his two Tom Baker Doctor Who stories; likewise, he also penned only two teleplays for The Avengers) makes this episode more distinctive, with its mind control and spycraft, while Peter Graham Scott, in his third contribution to the show on the trot, pulls out all the stops, particularly with a highly creative climactic fight sequence that avoids the usual issue of overly-evident stunt doubles.

Exit bear, pursued by an actor.

Paddington 2 (2017)
(SPOILERS) Paddington 2 is every bit as upbeat and well-meaning as its predecessor. It also has more money thrown at it, a much better villain (an infinitely better villain) and, in terms of plotting, is more developed, offering greater variety and a more satisfying structure. Additionally, crucially, it succeeds in offering continued emotional heft and heart to the Peruvian bear’s further adventures. It isn’t, however, quite as funny.

Even suggesting such a thing sounds curmudgeonly, given the universal applause greeting the movie, but I say that having revisited the original a couple of days prior and found myself enjoying it even more than on first viewing. Writer-director Paul King and co-writer Simon Farnaby introduce a highly impressive array of set-ups with huge potential to milk their absurdity to comic ends, but don’t so much squander as frequently leave them undertapped.

Paddington’s succession of odd jobs don’t quite escalate as uproariously as they migh…

She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

Where is the voice that said altered carbon would free us from the cells of our flesh?

Altered Carbon Season One
(SPOILERS) Well, it looks good, even if the visuals are absurdly indebted to Blade Runner. Ultimately, though, Altered Carbon is a disappointment. The adaption of Richard Morgan’s novel comes armed with a string of well-packaged concepts and futuristic vernacular (sleeves, stacks, cross-sleeves, slagged stacks, Neo-Cs), but there’s a void at its core. It singularly fails use the dependable detective story framework to explore the philosophical ramifications of its universe – except in lip service – a future where death is impermanent, and even botches the essential goal of creating interesting lead characters (the peripheral ones, however, are at least more fortunate).

He mobilised the English language and sent it into battle.

Darkest Hour (2017)
(SPOILERS) Watching Joe Wright’s return to the rarefied plane of prestige – and heritage to boot – filmmaking following the execrable folly of the panned Pan, I was struck by the difference an engaged director, one who cares about his characters, makes to material. Only last week, Ridley Scott’s serviceable All the Money in the World made for a pointed illustration of strong material in the hands of someone with no such investment, unless they’re androids. Wright’s dedication to a relatable Winston Churchill ensures that, for the first hour-plus, Darkest Hour is a first-rate affair, a piece of myth-making that barely puts a foot wrong. It has that much in common with Wright’s earlier Word War II tale, Atonement. But then, like Atonement, it comes unstuck.

He's a wild creature. We can't ask him to be anything else.

The Shape of Water (2017)
(SPOILERS) The faithful would have you believe it never went away, but it’s been a good decade since Guillermo del Toro’s mojo was in full effect, and his output since (or lack thereof: see the torturous wilderness years of At the Mountains of Madness and The Hobbit), reflected through the prism of his peak work Pan’s Labyrinth, bears the hallmarks of a serious qualitative tumble. He put his name to stinker TV show The Strain, returned to movies with the soulless Pacific Rim and fashioned flashy but empty gothic romance Crimson Peak (together his weakest pictures, and I’m not forgetting Mimic). The Shape of Water only seems to underline what everyone has been saying for years, albeit previously confined to his Spanish language pictures: that the smaller and more personal they are, the better. If his latest is at times a little too wilfully idiosyncratic, it’s also a movie where you can nevertheless witness it’s creator’s creativity flowing untrammelled once mo…

The aliens are not coming, just so you know.

The X-Files 11.1: My Struggle III
(SPOILERS) Good grief. Have things become so terminal for Chris Carter that he has to retcon his own crap from the previous season, rather than the (what he perceived as) crap written by others? Carter, of course, infamously pretended the apocalyptic ending of Millennium Season Two never happened, upset by the path Glen Morgan and James Wong, left to their own devices, took with his baby. Their episode was one of the greats of that often-ho-hum series, so the comedown was all the unkinder as a result. In My Struggle III, at least, Carter’s rewriting something that wasn’t very good in the first place. Only, he replaces it with something that is even worse in the second.

I'm going to open an X-file on this bran muffin.

The X-Files 11.2: This
(SPOILERS) Glen Morgan returns with a really good idea, certainly one with much more potential than his homelessness tract Home Again in Season 10, but seems to give up on its eerier implications, and worse has to bash it round the head to fit the season’s “arc”. Nevertheless, he’s on very comfortable ground with the Mulder-Scully dynamic in This, who get to spend almost the entire episode in each other’s company and might be on the best form here since the show came back, give or take a Darin.

Rejoice! The broken are the more evolved. Rejoice.

Split (2016)
(SPOILERS) M Night Shyamalan went from the toast of twist-based filmmaking to a one-trick pony to the object of abject ridicule in the space of only a couple of pictures: quite a feat. Along the way, I’ve managed to miss several of his pictures, including his last, The Visit, regarded as something of a re-locating of his footing in the low budget horror arena. Split continues that genre readjustment, another Blumhouse production, one that also manages to bridge the gap with the fare that made him famous. But it’s a thematically uneasy film, marrying shlock and serious subject matter in ways that don’t always quite gel.

Shyamalan has seized on a horror staple – nubile teenage girls in peril, prey to a psychotic antagonist – and, no doubt with the best intentions, attempted to warp it. But, in so doing, he has dragged in themes and threads from other, more meritable fare, with the consequence that, in the end, the conflicting positions rather subvert his attempts at subversion…

You think I contaminated myself, you think I did that?