Action

MOVIE REVIEW . Owl’s Castle

While a huge hit in its native Japan, the American response to Owl’s Castle so far can be characterized as lukewarm at best. One might attribute this to the fact that the film’s director, Masahiro Shinoda (Samurai Spy, Double Suicide), epitomizes classical Japanese cinematic sensibilities, while at the same time being a bit of an experimentalist. His period films are not the westerner friendly Kurosawa popcorn flicks, nor are they modern fantastical pop-art fantasies a la Shinobi: Heart Under Blade (a film I very much love, by the way). Instead Shinoda’s films are political and philosophical meditations, using historical contexts as a means for conversation. When watching one of his films, you are expected to think just as much as you are to be entertained.

In the year 1581, fearing a potential threat to his power, Lord Nobunaga ordered the eradication of the entire Iga ninja clan. Those that survived the massacre (primarily children) went on living in hiding. Years later, Nobunaga is but a memory, the current leader, Toyotomi Hideyoshi (Mako, Memoirs of a Geisha), having succeeded his successor. While stable, Toyotomi’s rule is not exactly popular, Toyotomi having launched an ill-thought out and lengthy invasion of Korea, and suffered a public breakdown following news of his son, and only heir’s passing.

Thus an opportunity presents itself for the body politic. Assassinating Toyotomi at this point in time would leave a completely undetermined successor. Fingered for the job is Juzo (Kiichi Nakai, Nezo no ban), an Iga survivor, and rumored master ninja. Viewing the opportunity as a chance to right the wrong done to his clan, Juzo gladly accepts. But there’s a catch. In order to assassinate Toyotomi, he must sneak into the largest and most secure castle in all of Japan. Complicating matters even further are a former Iga ninja turned samurai of the court, and two alluring kunoichi (Riona Hazuki, Black Angel and Takaya Kamikawa, Lorelei) who may or may not have Juzo’s best interests in mind.

Although made in 1999, the plotline of Owl’s Castle will undoubtedly invite comparisons to the war efforts of today’s American administration. Factoring heavily into the plot are issues such as war profiteering and invasion at the behest of a perceived surefire success, as well as a populace’s tendency to place blame for egregious political transgressions on the head of state. As the film states so eloquently, wars are rarely launched based on the behest of a single man; those who eagerly side with the issue, as well as those who remain complicit are just as worthy of blame. Lastly, and most importantly, the idea of revenge as a perpetuator of violence is addressed. Countless other ideas factor in as well. By no means do I present these as the absolute interpretations, but instead, given the overtly complex nature of the film, as a potential road-map for your viewing pleasure.

Equally challenging are the film’s visual sensibilities. With Owl’s Castle, Shinoda again plays with depth of field and unconventional shot juxtaposition. Many sequences are captured in a super-flattened perspective, almost like the beautiful collage posters of the 60’s and 70’s, only to abruptly open into a deeper focus in the following sequence. Scene transitions involve the generous usage of wipes as well as hard splices, many of which are jarring to the degree that audience members must devote extra time and effort toward assessing where the story has taken them with every scene. Seriously, if you let your mind stray, even for a second, you will end up completely lost. Combined with the aforementioned subject matter, this makes for some very demanding material. However, the rewards are worthwhile. Owl’s Castle is exemplary in its use of color and shadow, its gilded rooms of Toyotomi’s castle, its moonlit rooftop scenes, the color, texture, and detail of its resplendent fabrics, and the realization of the 16th century locales are all completely stunning. Think a Zhang Yimou martial arts film minus the Liberace excess. The film’s pacing, despite the strange cutting, is direct and determined, and although challenging, never bores.

Being a “ninja film” you might be wondering about the ninja action. The fights exhibited in Owl’s Castle are surprisingly realistic. There are minor physical enhancements (slightly higher hops, a bit of leniency in grappling), but for the most part the battles are extremely grounded. No one flies, no one spurts supernatural projectiles, and no one faces insurmountable odds and miraculously lives to tell about it. The altercations are direct, deadly, and flourish free. In fact Shinoda employed a real life mercenary to choreograph the fights (props to an IMDB commenter for cluing me in to this). There is one character that does employ the use of Ninja magic, but his ability is not the norm. Shinoda also wisely makes sure to film all combat in lengthy medium to long shots, so as to maximize audience investment in the proceedings. Furthermore, the fights are accompanied by ominous, Riz-Ortolani-eque synth music (eerily reminiscent of Cannibal Holocaust), designed to further agitate and off-balance the audience. And it works. Every blow manifests a palpable danger, and the outcome of near every conflict proves unpredictable. It’s quite exciting.

For those of you seeking a bland, hand-holding, by the numbers effects-fest, Owl’s Castle is definitely one to stay away from. However, if you like your action with a healthy dose of intellect, by all means pick it up.

About the Author

Chris Nelson has been a film fanatic since age six. A former film and English major, he is now a Software Engineer and contract Technical Writer living in the Silicon Valley.

Tags: Kei Mizutani, Kiichi Nakai, Mako, Masahiro Shinoda