MOVIE REVIEW . Runin: Banished

by Chris and Kris   ⋅   March 25, 2007   ⋅   Comment now   ⋅    RSS

Earlier this month I viewed a film I believed concerned a group of people exiled to an island and forced to survive on their own. That film was Johnny To’s Exiled, which turned out to be nothing more than a spaghetti western in stylish gangster’s guise. Sure, it concerned exile in a rather superficial metaphorical sense, but not the literal soul-searching sense I had been looking for. Now, with Runin: Banished, I do have that genuine tale of exile, complete with all the loneliness, despair, wretchedness, and hope that one would expect to find in a moving human drama.

Set in the late Edo Period, Runin: Banished concerns a group of criminals exiled to Hachijo Island, for various crimes ranging from simple vices to murder. Located a good 300km off the coast of Japan, the island is plagued by frequent storms which more often than not destroy dwellings and crops, inducing periods of famine for all its unwanted people. The only ways off this “Devil’s” island are death and government pardon, which, while promised, almost never come. Any attempt at escape is punishable by death. Against this backdrop struggles Toyogiku (Keiko Matsuzaka), an aged prostitute, years since banished to Hachijo for setting fire to Edo’s red-lantern district. Smart and resourceful, she has carved out a relatively comfortable existence for herself, performing services under the islander’s barter system. In spite of her profession she remains an honorable soul, smart and tenacious, and dreaming of returning to Edo. Enter Kisaburo (Kazuhiro Nishijima) and (later) Kacho (Mariya Ito), a handsome gambler and coquettish prostitute respectively. Both young and headstrong, each possesses a passion and defiance that even the island may not be able to crush. Toyogiku’s chance of return may not be that far off.

At roughly 150 minutes, Runin: Banished definitely takes its time to tell its story. This is not a case of narrative inefficiency, but rather due to character exploration and surprisingly deep mediations on loneliness, isolation, and loss. It’s not a cheerful film, but never once does it fail to engage its audience. What struck me about Runin was the refreshing take on exile, and the attention to detail in its realization. Unlike other island prisoner tales (see: Terminal Island or even the upcoming Steve Austin vehicle, Condemned), the criminals found on Hachijo island are not wild dogs, but for the most part genuinely civil, abiding by a sort of unspoken moral and societal code of exiles. Furthermore these people look like they’ve been stuck on the island quite some time. Even Toyogiku’s colorful kimono appear thinned and dingy from years upon years of use. This keeps with the sequences showing exiles arriving with little more than the clothes on their back, and cements the notion of elapsed time as well as the individuals’ eventual loss of hope.

Director Eiji Okuda (A Long Walk) does an admirable job keeping the story focused, balancing scenes of character exposition with stunning scenic meditations (think a far more restrained Terrence Malick), which help convey the profound sense of isolation to the audience. His technique is not without fault, however. For however beautiful and compelling his film is, the emotional connection with the characters wasn’t as solid as I would have liked. That said, Keiko Matsuzaka (Dr. Akagi, The Happiness of the Katakuris, Ripples) does a wonderful job as Toyogiku. While I do have a few issues with the way her character plays out (I can’t reveal them without spoiling some of the story), she brings a surprising amount of strength, beauty, and wherewithal to the role. As a result, her Toyogiku is completely fascinating. Similarly, Nishijima’s portrayal of Kisaburo, while for the most part your average everyday stoic male role, is strong enough to complement Matsuzaka’s, never once allowing for an acting imbalance.

In closing, Runin: Banished is not your everyday period drama from Japan. There are no samurai heroes, no star crossed lovers, no bodyguards, warriors, helpless peasants, or evil shogunates to be found. This undoubtedly will limit this film’s chance of seeing an art-house release in the states, but it is no less worthwhile. Even slightly flawed, it is far more thoughtful and evidences far more artistry than the bulk of those releases. If you have the chance to see it, check it out.

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.

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