Hirai Taro aka Edogawa Rampo. A prolific writer whose stories were serialised in newspapers and published as novels. Inspired by Edgar Allen Poe, the source of his pen name, Rampo turned his literary talents to stories of detectives, the supernatural, the erotic and the psycho-sexual. These works proved ripe for cinematic treatment, particularly around the time of the pink film boom.
Blind Beast (1969, Yasuzo Masumura) Black Lizard (Kinji Fukasaku, 1968) Horrors of Malformed Men (Teruo Ishii, 1969), Watcher in the Attic (Nobuo Tanaka, 1976), and Gemini (Shinya Tsukamoto, 1999) stand as the most famous adaptations. Even this year there have been adaptations with Hiroki Inoue’s drama Hito de nashi no Koi released in June.
And we return to Rampo Noir. Back in 2004, as the J-horror genre started to shamble along zombie-like on the back of recycled tropes and trends, this anthology film was made that allowed its directors to approach Rampo’s macabre and menacing material in their own unique and memorable ways. It also allowed some of the leading acting talents of the early 2000s to wrestle with some truly disturbing material, particularly Tadanobu Asano (Bright Future, My Man, Survive Style 5+, Vital) who appears in the four chapters of the film and plays Rampo’s famous Detective Akechi Kogoro in two. While Rampo Noir does not feature jump scares or bone-chilling frights, it packs in a lot of ero-guro sights to leave an average viewer sickened and disturbed.
Director Kazuya Shiraishi chronicles the darker aspects of Japan with true-crime stories featuring outlaws like The Devil’s Path (2013) and Twisted Justice (2016) mixed with depictions of damaged everyday people on the outermost fringes of society like Dawn of the Felines(2017) and Birds Without Names (2018). For One Night, his first family drama, he adapts a stage play by Yuko Kuwabara but leans too far into crime territory late in the proceedings for an unsatisfactory ending.
The film opens on a stormy night at the Inamoto Taxi company which is located in some nondescript town. Koharu Inamoto (Yuko Tanaka) runs over her abusive husband in a taxi in an act to free herself and her three children from his merciless violence. After confessing what happened to her kids, all of whom bear the bruises of a beating, Koharu tells them, “Nobody will ever beat you again. You can live however you want.” Just before departing into the rain and darkness to give herself up to the police, she promises she will meet them again in the future.
Cut to 15 years later and we see that Koharu’s selfless act that was supposed to set her family free to pursue their dreams has trapped them in a vicious circle of shame and self-loathing that has made their lives nightmarish. Koharu discovers this bitter disappointment as she keeps her promise and returns to her children and the family business. Her presence forces everyone to confront the scars from their traumatic background, how the kids have inherited the sins of the mother by living in shame, and how this has all warped their personalities in various ways. These differences lead to multiple angles of conflict between characters we sympathise with due to their shared history and that provides ample drama which is excellently delivered by the cast.
Displaying various degrees of emotional damage and toxic masculinity are Koharu’s boys. Eldest son Daiki is a nebbish-looking guy who is struggling badly with a failing marriage and meeting masculine norms. The slicker younger son Yuji is a cynical journalist for a sleazy tabloid who senses he can turn his tragic past into a brighter future through writing about it, even if this betrays his family. Screen heartthrob Takeru Satoh plays the more showy character of Yuji with provoking sneers and condescension fit for his character. More conventional but really harrowing is the plight faced by Daiki. Ryohei Suzuki is very sympathetic playing the bespectacled guy unable to process what happened to them. He is all huddled and quiet with a downcast gaze and stutter due to a lack of confidence and a lot of shame. His constant avoidance of conflict leads to a shock later in the story as he he slips into violence in a way that reminds audiences that children learn from their parents.
More welcoming is Koharu’s daughter Sonoko played by Mayu Matsuoka, a much-needed ray of sunshine whose bright personality and hard-knock smile lights up the dark narrative. Having been forced to give up her ambitions to be a hairstylist, she works at a snack bar where she belts out karaoke tunes with glee and has a cynical view of men that she is unafraid to show. This motivates her to push back against her brother’s wayward feelings towards their mother.
Veteran actress Yuko Tanaka plays Koharu as a woman with mighty resolve and a humane nature who is resigned to enduring whatever hardship she faces for the good of her children. Naturally the audience will be with her and there is the expectation that she will right whatever wrongs that are going on, from saving Daiki’s marriage to coming to peace with with Yuji. Except it doesn’t quite work out so simply and seeing the family members navigate their sense of betrayal and try to overcome their traumas provides gripping material that the performances keep us invested in. Throw in an examination of how society ostracises those connected to crime, other characters around them struggling with issues like senile parents and wayward children and there is enough material here for a fine family drama that depicts the problems faced by modern families.
While the pieces are all there, the story loses its thread in the final third as if the writer Izumi Takahashi lacked an interest in realistically evolving the story and bringing the characters to a natural catharsis. Instead, a subplot involving Michio Doushita (Kuranosuke Sasaki) as a taxi driver whose criminal past catches up with him drives the action. While his plight makes an interesting parallel to Koharu’s, his story hijacks the film and takes away any agency from the mother and it leads to a contrived ending which foists an unbelievable connection between himself and the children, whom we never really see interact with him, just for the sake of a resolution.
One Night really starts off as a deep, dark, and very difficult performance-driven drama as we watch an excruciating reunion ripe for theatrics but everything is kept in check as the cast deliver some very fine and realistic portrayals showing the ways domestic violence can affect people. With a better ending, the emotional of sticking it out rewards would have been greater.
The technicals are all impressive enough and help transcend the film’s stage origins by taking advantage of the taxi company to get out of the single location so it never feels boring and there is a sense of place and time so that this feels rooted in reality.
My review for One Night first appeared on VCinema on September 01st.
Director Gakuryu Ishii made his name with crazy indie films fizzing with punk energy, works like Burst City (1982) and Crazy Thunder Road (1980), but that is just one aspect of his career since he has an imaginationcapable of covering different genres from gloomy serial killers films like the brilliant Angel Dust(1994) and talky apocalypse movies like Isn’t Anyone Alive?(2012). I recommend watching them butof his other works, The Crazy Family and August in the Water are my personal favourites.Most of his filmsburst with voluptuous visuals and costumes, dense dialogue, and big name actors andover his long career he has maintained his flare for shooting scenes in energetic ways, something much needed here in a story that takes a while to get traction despite an exuberant performance from Fumi Nikaido as a goldfish turned human.
Based on a 1959 novel by the author Saisei Muro, Bitter Honey is set in 1950’s Tokyo. Although shot in a few outdoor locations like a yokocho, some streets, and temple grounds, most of the action takes place indoors, particularly the well-appointed house of an old male writer (Ren Osugi) who is busy making works of literature that will stand the test of time. Well, he would be if he wasn’t enthralled with a red goldfish who is able to transform into a beautiful voluptuous young woman (Fumi Nikaido).
Yamato (California) is a coming-of-age tale from Daisuke Miyazaki, a graduate from Waseda University with a varied filmography consisting of indie films and experience working as an assistant director on commercial movies such as Kurosawa Kiyoshi’s family drama Tokyo Sonata (2008). Much like that film, he looks at people left trailing by the economic problems and the split in identities caused by different forces in contemporary Japan and he does so through one teenager’s rebellion against cultural apathy through the medium of Hip-Hop.