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Taboo Director: Nagisa Oshima Number of Items: 1 Format: Color, Widescreen Audience Rating: NR (Not Rated) Running Time: 100 minutes Studio: New Yorker Video Product Group: DVD Release Date: 2002-08-20 Buy from Amazon

From Amazon.com This fascinating, gorgeous film examines homosexual passions among the samurai of an 1865 militia. Taboo centers around a young samurai named Kano, whose smooth face and soft beauty makes him an object of desire. Rumors about who might be his lover lead to a love triangle, dazzling swordfights, and a mysterious murder. The story is intriguing enough, but what makes Taboo even more striking is that the heterosexual samurai treat their comrade's queer leanings as possibly dangerous, but only because of the potential for jealousy and inflamed passions--there's no sense that they see it as unnatural or even unmanly, in striking contrast with the American military view. Japanese superstar Beat Takeshi (Fireworks, Sonatine) plays a samurai captain struggling to maintain order in the ranks. Elegantly directed by Nagisa Oshima (In the Realm of the Senses, Merry Christmas, Mr. Lawrence). --Bret Fetzer

Customer Reviews: Total numer of reviews: 16 Average rating: 4.0 "A natural or unnatural yearning?" The year 1865 was a time of transition for Japan. The Tokugawa Shogunate would collapse in two years time and the Meiji Restoration, where the emperor would be restored to his full glory was a year after that. Yet political struggles and fighting between those loyal to the shogun and those loyal to the emperor marked that interim period. The black-robed Shinsengumi are a pro-shogunate, pro-isolationist police force, a kind of elite squad fighting against pro-imperialist forces in Kyoto. They are led by Commander Kondo Isami and Captain Hijikata Toshizo. The story revolves around Sozaburo Kano, one of two new recruits whose fighting skills impress the two leaders. Kano seems very able even in his first assignment, the execution of someone who broke the Shinsengumi code of borrowing money, dispatching the offender in the traditional way. Yet his effeminate looks and his hair, still in a long pony-tail as opposed to the short-cut adult style, arouse desires in certain officers in the police force, such as his fellow recruit Hyozo Tashiro and threatens the stability of the Shinsengumi. While Kano denies that he is someone's lover, he seems to enjoy the attention he gets from the others. Hijikata seems to think Kano and Toshiro were lovers. He has a dojo bout against Kano, who stands up well, and against Tashiro, who is "one notch lower than Kano." Yet when Kano and Tashiro fight, the former does not fight as well. This inconsistency leads the captain to that conclusion in answer to rumours asking who Kano has taken up with. One repeated line has the motif of "Does he lean that way" or "I didn't know he leant that way" in regards to officers suspected of desiring Kano. There was indeed a homosexual subculture flourishing in Kyoto during the Tokugawa period and it wasn't forbidden. In the Shinsengumi, though, it's akin to love of youthful male beauty in Roman times. One thing that might confuse people is the repeated mention of the Ikedaya Jiken (Incident). That was a fight that took place at the Ikedaya, an inn in Kyoto, in July 1864. Commander Kondo and some men attacked and killed eight anti-shogunate activists, arresting twenty. The two samurai who taunt Kano while he is having a bout with Commander Inoue were suspected of being anti-shogunate activists itching for revenge. And Satsuma and Aizu refers to domains held under sway of more moderate anti-shogunate forces who sought reconciliation with the shogunate. Beat Takeshi (Takeshi Kitano under his acting name) is his usual understated but occasionally potent self, and he does well as Hijikata, even if real Hijikata died in his mid-thirties. His observation that jealousy among men is a dangerous thing underscores what happens when Kano comes into their midst. Historical accuracy is also questionable in the characterization of Commander Kondo, who like Hijikata was in his thirties when he was later captured and executed in 1868 by imperial forces. The period detail is well captured, down to the dress and even the palanquins, as is the militaristic dojo atmosphere of the Shinsengumi. An interesting study of the attractions to youthful beauty and the jealousies it can lead to. "A natural or unnatural yearning?" The year 1865 was a time of transition for Japan. The Tokugawa Shogunate would collapse in two years time and the Meiji Restoration, where the emperor would be restored to his full glory was a year after that. Yet political struggles and fighting between those loyal to the shogun and those loyal to the emperor marked that interim period. The black-robed Shinsengumi are a pro-shogunate, pro-isolationist police force, a kind of elite squad fighting against pro-imperialist forces in Kyoto. They are led by Commander Kondo Isami and Captain Hijikata Toshizo. The story revolves around Sozaburo Kano, one of two new recruits whose fighting skills impress the two leaders. Kano seems very able even in his first assignment, the execution of someone who broke the Shinsengumi code of borrowing money, dispatching the offender in the traditional way. Yet his effeminate looks and his hair, still in a long pony-tail as opposed to the short-cut adult style, arouse desires in certain officers in the police force, such as his fellow recruit Hyozo Tashiro and threatens the stability of the Shinsengumi. While Kano denies that he is someone's lover, he seems to enjoy the attention he gets from the others. Hijikata seems to think Kano and Toshiro were lovers. He has a dojo bout against Kano, who stands up well, and against Tashiro, who is "one notch lower than Kano." Yet when Kano and Tashiro fight, the former does not fight as well. This inconsistency leads the captain to that conclusion in answer to rumours asking who Kano has taken up with. One repeated line has the motif of "Does he lean that way" or "I didn't know he leant that way" in regards to officers suspected of desiring Kano. There was indeed a homosexual subculture flourishing in Kyoto during the Tokugawa period and it wasn't forbidden. In the Shinsengumi, though, it's akin to love of youthful male beauty in Roman times. One thing that might confuse people is the repeated mention of the Ikedaya Jiken (Incident). That was a fight that took place at the Ikedaya, an inn in Kyoto, in July 1864. Commander Kondo and some men attacked and killed eight anti-shogunate activists, arresting twenty. The two samurai who taunt Kano while he is having a bout with Commander Inoue were suspected of being anti-shogunate activists itching for revenge. And Satsuma and Aizu refers to domains held under sway of more moderate anti-shogunate forces who sought reconciliation with the shogunate. Beat Takeshi (Takeshi Kitano under his acting name) is his usual understated but occasionally potent self, and he does well as Hijikata, even if real Hijikata died in his mid-thirties. His observation that jealousy among men is a dangerous thing underscores what happens when Kano comes into their midst. Historical accuracy is also questionable in the characterization of Commander Kondo, who like Hijikata was in his thirties when he was later captured and executed in 1868 by imperial forces. The period detail is well captured, down to the dress and even the palanquins, as is the militaristic dojo atmosphere of the Shinsengumi. An interesting study of the attractions to youthful beauty and the jealousies it can lead to. "I really hope this isn't Oshima's last film." While this film is worth a look, and has it's share of nice moments, it is definitely no indication of the genius of it's director - who is, sadly, showing his age here. I hope that Oshima is able to give us at least one more film before he dies, and I hope that he is able to invest it with some of the passion that runs so heavily through his oeuvre - passion so oddly absent in this effort. It would also be nice if some of his more important works were released, because, going by what's available, one would never know what a tremendous contribution Oshima has made to cinema over the course of his career. "Shocking Swordplay" Feudal Japan--Leaders of the Shinsengumi militia, an indpendent "bad cop" faction on the government's side, watch as their two newest recruits face off in a Kendo match--a wooden sword battle during a time when swordmasters received the highest regard, the samurai period. Bearded Tashiro faces off against Sozaburo Kano, who everyone can see is easily the better swordsman. But to the surprise of many, except a few insightful higher-ups, Kano loses. Beat Takeshi's Hijikata character (one of many real Japanese personalities--the Shinsengumi stories alone could entertain you for hours) and Isami Kondo immediately understand, what is going on. The viewer doesn't, but soon will. A thoughtful, judgemental look at Sozaburo, with his boyish face and demeanor, long, smooth hair, and feminine almond-shaped eyes--got it yet?--reveals all. He lost because he may be "involved" with Tashiro, who may not be the only one with "leanings" toward Sozaburo. It's an interesting revelation to those of us only familiar with the tough samurais of Kurosawa films or the Zatoichi blind swordsman-type TV series; that these men of the sword were also men of a different type of sword. The practice isn't uncommon in history. Gladiators (yes, those during Russell Crowe's Maximus character's time) were also prone to have homosexual leanings, as did many senators. But director Nagisa Oshima does a masterful job of the consequences of a workplace relationship in the context of samurai Japan, and a homosexual relationship at that. Not to say that the practice is widely accepted. Hijikata even orders a sergeant to take Sozaburo to a brothel to see if he can be turned around; Sozaburo misinterprets the sergeant's friendliness. Internal strife develops as other samurais join the chase for Sozaburo; rumor gives birth to tension that ends in murders, a difficult thing to have in an organization involved in a war. This is particularly of concern to Hijikata, who serves as the narrative voice in many parts of the movie, although Sozaburo remains the protagonist. Oshima has a flair for creating then sustaining moods, be it soft, dark and suspenseful, or symbolically poignant. The swordfights are excellent, as they should be, being that this is a samurai film. Blood and gore levels are kept a reasonably tame level for this sort of film. This film would be best viewed with some sort of knowledge of the time period; perhaps get some simple reading done, or even watch a few episodes of the Rurouni Kenshin anime series, which deals heavily with the Shinsengumi, Ishin Shishi and the Meiji restoration of this time (search for "Samurai X" then watch the Trust and Betrayal movies). This is a four-star film that gets three for revealing an aspect of the samurai that many hardcore fans may not be comfortable with. It may taint your ideal of the samurai, but Oshima allows us to accept this slowly, through a beautifully--both in image and in flow--worked film. Highly recommended for viewing, and possibly recommended for your own library. "ai no ken: the sword of love" If one has read Ihara Saikaku short story collection _The Great Mirror of Male Love_ one would know that the homosexual trysts of the chounin, townsmen, merchants, artisans, was viewed as an alternative to the couertesan, geisha, quarters. It was not morally incorrect to have sexual relations with men. There was not even a word for homosexuality, douseiai, in Japan until after the Meiji restoration. In fact, most of the wealthy merchants dailied with both men and women. The townsmen first emmulated the samurai who had a long tradition of homosexuality among their ranks. Usually involving an older man and a young man, or two men who were roughly the same age. In Oshima's _Gohatto_ the viewer is introduced to Kano Sozaburo, played by the very effeminate looking Matsuda Ryuhei, _Blue Spring_, a young man who although a merchant by lineage, jojns the Shinsengumi, militia protecting the Shogun, becaise it will give him the opportunity to kill people. However, although Kano is quite skilled with his sword, he is not able to put off the advances of several samurai, including Tashiro Hyozo, played by Asano Tadanobu, _Zatoichi_, _Love & Pop_, _Bright Future_, etc., who unfortnately does not play a larger role in this movie. However, as the movie continues, individuals who desire Kano as a lover begin to die and the leaders of the Shinsengumi, Kondo Isami and Hijikata Toshizo, played by Kitano Takeshi, _Fireworks_, Kikujiro_, _Battle Royale_, etc., who begin the suspect that Tashiro is killing his would be rivals. However, is that truly so? This is a decent film. The camera work is done well, and the scenery is absolutely lovely. However, it is a bit jumpy. Much of the plot is dedicated to the Shinsengumi's members worrying about their enemies, but this is put on the backburner because of the "love" story, which although it can be entertaning is quite weak, because we are never able to learn anything about Kano emotions, however, I guess the emotionless Kano goes well with Mastuda's wooden acting. A couple of notes. Kano's forelocks are mentioned several times in the film. When a samurai comes of age he shaves off his forelocks. Also the forelocks signify that a young man is availible to become the "passive" member of a homosexual relationship. After he shaves off his forelocks, he is supposed to become the "active" partner. Some might find it quite odd when Kitano's character chops the the sakura tree at the end of the film. Cherry blossoms represent the fleeting of life and beauty. Equate this with the feminine beauty of Kano, and it is quite significant