Goemon (2009)

I just had the absolute pleasure to witness a sensory feast of a film called Goemon from visual master, Kazuaki Kiriya. I have to say that Goemon may be one of the most ridiculously entertaining films I’ve seen in a long time. Its fractured story-telling, video game-reminiscent CGI, and unorthodox attitude (to us westerners) should have made it a sure-fire bomb, but instead it turned out to be a visual treat and one hell of a rollercoaster ride.

Rating:

The story is pretty simple. Goemon (Yosuke Eguchi) is a hero among the people of Japan. He steals from the rich and gives to the poor (sound familiar), but it’s not so much his story that sells the flick; it’s all the sub plots built around him that drive the story forward. I don’t want to give anything away, but Goemon weaves an intricate web of lies and deceit by bringing in an old friend from a life Goemon wishes to leave behind, a beautiful young woman who stirs emotions that have long lain dormant in our hero, and the knowledge that only he knows the truth and can do anything about it. That’s just the tip of the iceberg. Vague enough for you?

So, I started off the review mentioning that Goemon is a visual feast, and that’s no lie. Off the bat, some people would call out immediate comparisons to the three Star Wars prequels (due to almost every environment being mostly CGI), but this would be a terrible thing to do. Whereas Lucas overdid it with the CGI (by the end of the first film you’re begging him to use a real background again), in Goemon the CGI comes off as unsettling at first, but within twenty minutes, it couldn’t feel more natural. Whether the action is taking Goemon in a race through the crowded marketplace, or the hushed voices of plotting high-ranking officials echo through a massive chamber in a multi-tiered castle, incredible attention was paid to each and every detail.

Now, we should jump right into the action, because, let’s face it, this film has a great story, but it’s also action-packed. The sword fights are wild, and they’re greatly enhanced by some intense hand-to-hand combat as well. That’s right, they bring out the big guns in this one (and that’s not a play on words). In fact, towards the end of the film some of the coolest, most massive guns I’ve seen in an epic period flick are introduced, and the damage caused is devastating (read: awesome). Also, they throw in some chains, daggers, and pistols to up the ante. Not only are the weapons and fighting really cool, but when Goemon is forced to fight he doesn’t just fight one or two people, but the screen often becomes so crowded with enemies that it’s impossible to count them all.

The acting is pretty much as good as I could have hoped for. Yosuke Eguchi as the lead, Goemon, had an incredible presence on the screen. Whenever he interacted with anyone else, your eyes are drawn to whatever he’s doing. His relaxed attitude, especially in the face of danger, makes him so likeable that he becomes the perfect lead character. He can turn from happy-go-lucky to infuriated in the drop of a hat, but does it in a way that’s completely believable and not once does he seem to break character. Several other characters really stand out (that’s a lie, they all did, but I digress). Takao Osawa is very good as Goemon’s ex-best friend, Saizo. As such, his cold shoulder attitude towards Goemon’s ideal of freedom is perfectly balanced by his softer side when it comes to his family. The two men are linked from the past and, as their story unfolds, the rest of the film comes full circle. Ryoko Hirosue plays another person from Goemonn’s past, Lady Chacha. As beautiful as she is, she’s also an incredible actress, and holds her own in a film almost completely populated by men. I could go on and on, but there’s really no point. I really can’t say anything bad about any of the actors.

Of course, no film is perfect and Goemon is no exception. The script leaves a little bit to be desired. I don’t know if that’s just me being a westerner, or the fact that some of the dialogue was a bit over the top, but sometimes I found myself cringing when characters had to deliver lines that felt extremely forced. Another thing I’d like to bring up is that, like Kazuaki Kiriya’s earlier film Casshern, Goemon felt a little overlong. At times I found my concentration drifting off during scenes that felt too long (but I would be brought back when the scene took a turn or changed completely).

Overall, Goemon is a blast of an action/adventure flick. Anyone that’s a fan of Casshern will immediately fall in love with this film. For those who haven’t experienced a Kiriya film yet, I’d say start with Goemon. It’s an intensely beautiful visual ride with a story that takes you by the throat and doesn’t let go until the credits role. Goemon comes highly recommended.

NOTE: This review is based on the original Japanese release, which officially opened in Japan on May 1, 2009. It is co-released by Shochiku and WB Japan. US distribution is pending.