After taking a nearly decade long hiatus from the director's chair, Japanese director Nagisa Oshima, perhaps best known for his infamous 1976 work IN THE REALM OF THE SENSES, returned with 1999's GOHATTO, released in the U.S. as TABOO. And "Taboo" it is, since the film deals with issues of homosexuality in the armed forces. While technically speaking the film is spectacular, containing vivid compositions of light and darkness, and featuring a handful of visually stunning scenes, the end effect is a film that seems to let you down at the end, mostly due to an ending that seems to wrap things up quickly and in a tidy manner without really satisfying much of the conflict that you as the viewer have just spent pondering it. Despite the disappointing ending, I still think GOHATTO has a lot going for it, and is very worthwhile.

The film takes place in Japan in the late 1800s and begins with a series of swordfights designed to recruit new samurai for an elite militia unit. This militia has been formed to crush uprisings against the weakening Japanese shogunate. During the course of the auditions, two promising prospects emerge, the older Tashiro, and the young son of a rich merchant, Kano. Due to his effeminate behavior and striking good looks, Kano soon becomes the object of homosexual lust among the soldiers in the unit, especially Tashiro, who begins an intimate relationship with the young Kano.

Soon, Kano's homosexuality is common knowledge among the soldiers, many of whom make a play for Kano. The commanding officers are somewhat concerned about the effect these relationships will have on their control over the men, and decide that Kano should be weaned away from relationships with men. This proves a tough task to accomplish, and soon, a number of men have taken a real interest in Kano.

After one of the militiamen is found murdered, it becomes clear that the relationship between Kano and the various other men has become a problem, with one of Kano's lovers apparently seeking to eliminate the others. From here, GOHATTO essentially becomes a mystery, as the commanders try to figure out who the culprit is, and how to deal with him.

As with most of Oshima's more well-known films, GOHATTO deals explicitly with issues of sexuality within the Japanese culture. It's interesting to note that for the most part, the commanding officers approach the homosexuality as if it is a natural and inevitable consequence of the situation the men find themselves under. This is quite a contrast to the approach that was taken in the United States until recently, when homosexuality was viewed in much the same way as a disease or mental illness. The issue of homosexuality in the armed services is also quite relevant especially in today's society, where the issue is a hotbed of controversy. Again, it's of interest to note the reactions of the characters in the film to the knowledge of their soldier's impending homosexuality and compare that to the reactions of U.S. military leaders in discussions about the topic. Finally, Oshima's film depicts the sexual tension among the soldiers as being omnipotent. No soldier, not even the commanding officers are spared from feelings of lust towards Kano. This again is an interesting depiction, since, regardless of their sexual orientation, no one can escape this feeling, suggesting again that feelings of homosexuality under these circumstances are inevitable.

I have one main problematic area with Oshima's film, emanating from the film's ending, which eliminates much of the impact of the film. The film's climax seems to have been put together hurriedly, dissipating any of the emotional impact one would expect it to have. Instead of the grandiose conclusion that you would expect from a film such as this, the film just ends abruptly. Another problem with the ending is that most observant audiences will probably be able to recognize who the murderer is well in advance of the ending. This makes the whole ending seem rather pointless, since you probably already figured out what was going to happen.

On the other hand, Oshima's film is excellent in a number of ways. Aside from the relevant subject matter, the film is shot in a most bravura style, emphasizing the nature of good and evil, and innocence. We first see Kano wearing a white outfit, quite the contrast compared to the all dark garb worn by the rest of the soldiers. This is, obviously, to inform us of Kano's innocence and contrast that with the typical soldier, who is well-versed in the dark arts of sin, lust and greed.

Throughout the film, there are a number of swordfights, which are excellently staged and very exciting. Midway through the film, Kano and a superior track down a renegade group and pinpoint their location at a small inn. After searching the house, a swordfight begins between Kano and the leader of the renegades. Although the real emphasis in GOHATTO is on the drama and character interaction, there are some good action sequences, and a couple of rather violent scenes, and despite the poor quality of the ending, it is probably one of the most visually splendid scenes in the film, and really reeks of atmosphere. This almost (but not quite) makes up for the rushed and unsatisfying nature of the conclusion.

Oshima's attention to period detail in GOHATTO is another positive element. A major emphasis in the film is on the code of conduct among the samurai. This is the element of the film that takes precedence over all else and really forms the foundation that all the characters operate under. The set and costume design is excellent, completing the illusion that the film takes place in late 19th century Japan.

Overall, the acting is excellent. "Beat" Takeshi (Kitano) plays the captain of the militia, and it is with his character that we develop the closest bond as an audience. This is mainly due to inner conversations that we, as the audience, witness, revealing Takeshi's true thoughts about the situations he is dealing with. We also receive small details about Takeshi's own feelings towards Kano, feelings that he refuses to acknowledge.

As Kano, Ryuhei Matsuda really accentuates the mysterious nature of his character. Kano is most inexperienced in life in general, and basically relies on others to teach him the ways of the world. In the end, this probably is the worst thing that could happen, and he ends up corrupted because of this. Matsuda plays Kano in a most minimalist fashion, usually utilizing the least amount of emotion possible, keeping us in suspense as to how the character actually feels.

A final noteworthy element is the use of intertitles in the film to move the story along. Although this does slow the film down, I think ultimately this adds to the film. By using these intertitles, Oshima is making the film seem more like a story being told, and less like a fluid film.

While initially, GOHATTO may seem like a modern version of one of the samurai epics of Kurosawa, in actuality, Nagisa Oshima's film really would have only a specialized audience. While there is action, violence, and a depiction of samurai life, the emphasis in the film is on character interaction and human drama rather than epic battle scenes, therefore the viewer expecting an action movie will find this one quite slow and "boring." Also, the subject matter alone will probably make some viewers uncomfortable, even though the issue of homosexuality is carried out rather discreetly.

In the end, I found GOHATTO to be well worth the time. Although I didn't think it was quite the masterpiece it could have been, mostly due to a disappointing ending, it was still a well-visualized piece dealing with a subject that is so often ignored. Just the statements the film makes on homosexuality in the military, or in society in general, make this film a thought-provoking piece about human interaction and relationships. If this at all sounds interesting, I would recommend Nagisa Oshima's film. For those interested in Japanese cinema, I would advise you to perhaps be a little selective about this one. Although the film is fascinating in its own way, it isn't your typical fast-paced and action-packed Japanese film. If you enjoy the artistic aspects of the Japanese cinema, however, this will be well worth your time.


Recommended:
Yes

Viewing Format: VHS
Video Occasion: None of the Above
Suitability For Children: Not suitable for Children of any age