Lee Sang-il, director of "Unforgiven," creates a decades-spanning historical drama starring Ryo Yoshizawa as an orphan aspiring to master the demanding art of kabuki.
"Kokuho," a vivid portrait of a legendary kabuki actor throughout his career, joins a rich tradition of films that depict the personal toll of artistic creation. Too often, these stories present a simplified version of the demands and qualities of this art, diluting the essence of what drives the characters to undergo such rigorous trials. In contrast, the unexpected success of Japanese director Lee Sang-il, "Kokuho," devotes much of its runtime to capturing the beautiful physicality and poignant stories around which the performances revolve, reflecting the numerous struggles and complex triumphs in its protagonist's life.
Director: Sang-il Lee
Writers: Satoko Okudera, Shûichi Yoshida
Stars: Keitatsu Koshiyama, Soya Kurokawa, Ai Mikami
The title "Kokuho" translates as "national treasure," a title bestowed by the Japanese government upon great masters of an art or craft. Its director, Lee, is best known for his films “Hula Girls” (2006) and “Unforgiven,” a 2013 remake of the Clint Eastwood film, starring Ken Watanabe. “Kokuho” has become a true phenomenon in Japan, where it has grossed nearly $100 million since its release in June, shortly after its premiere at the Cannes Directors’ Fortnight. The film was subsequently selected to represent Japan at the Oscars.
After witnessing his father’s death in Nagasaki in 1964, Kikuo (played by Ryo Yoshizawa as an adult and Soya Kurokawa as a child), the 14-year-old son of a yakuza leader, moves to Osaka to begin his studies as an apprentice to Hanjiro (Ken Watanabe), considered by many to be the city’s greatest kabuki actor. There, he befriends the artist's son, Shunsuke (Ryusei Yokohama), who possesses far less passion than his intense energy and natural talent for embodying the role of an onnagata (a man who plays a female role in traditional kabuki), thus beginning a friendship and rivalry that will last for many years.
At nearly three hours long, "Kokuho" takes its time to encompass the events of 50 years—ending, after the longest of its numerous time jumps, in 2014—but remains captivating from beginning to end, largely thanks to its ambivalent perspective on the protagonist. As conceived by Lee and screenwriter Satoko Okudera (who adapted Shuichi Yoshida's novel, which inspired Lee's 2010 film "Villain"), Kikuo is deliberately an enigma, an artist who takes pride in his work, but whose identity and ability to connect with others are often ambiguous. As is evident throughout the film, kabuki places great importance on family lineage. Shunsuke is the heir to the Tanban-ya House, to which Hanjiro belongs. Despite his talent, Kikuo must resort to questionable tactics to maintain his position in the closed community.
When Ryo Yoshizawa takes over the role of Kikuo around the 40-minute mark, this aspect of his character becomes even more crucial to the essential mystery of "Kokuho." When he isn't wearing the elaborate stage makeup that blurs the line between Kikuo and Shunsuke, a certain coldness is perceptible in his demeanor, especially compared to Yokohama's more extroverted portrayal, which constantly casts doubt on the sincerity of his feelings. While other characters endure the extreme pressure of kabuki training and performance with far greater resilience, the 31-year-old actor appears strangely detached as he ages, a man who never quite fit into the established traditions of his art and yet achieves success.
In many ways, Kikuo embodies the place his art holds in postwar Japan. While the film barely touches on the world outside kabuki—aside from Kikuo's allusion to the fact that "atomic bomb sickness" wiped out most of his family—it subtly paints a portrait of changing times, reflected primarily in the costumes and production design. Kabuki never loses its popularity in the film, just as it retains its place of honor in real life, but there is a palpable tension between its 17th-century roots and the intrigues of the 20th century, prominently reflected in the Mitsutomo Corporation's heavy patronage of the Tanbanya House. Ultimately, it is an elaborate production that must be financed using clearly modern resources.
To bring all of this to life, Lee Sang-il frequently employs close-ups and sweeping panoramic shots that, together, capture the physicality of the numerous performances. The vibrant colors of cinematographer Sofian El Fani (“Blue Is the Warmest Color”) lend the appropriate vitality to Yohei Taneda’s art direction and Kumiko Ogawa’s costumes. But perhaps the most fascinating detail of all lies in the intertitles that appear when a new kabuki play is presented. In the American premiere of “Kokuho,” the Japanese title of the play is shown, along with its English translation and a brief synopsis. While the performances are not presented in their entirety, this approach offers Western audiences a more complete understanding of the often tragic nature of these tales of unrequited love and death, as well as a deeper appreciation of kabuki’s legacy.
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