Taboo

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DanTheMan 2 @DanTheMan2150AD Jan 28, 2025 A Brokeback Samurai murder mystery, Taboo is a bold and visually stunning exploration of the strict social codes of nineteenth-century Japan, a mesmerising and atmospheric tale infused with a subversive undercurrent of homoerotic frisson. Nagisa Ōshima's final film, one he directed from a wheelchair due to his 1996 stroke, is one to behold; there's plenty of beauty to admire throughout the film's runtime, even if the narrative doesn't quite come together by the end, ending on a bloodless whimper, it's far from a pure drama thanks to Ōshima peppering the story with a little action here and there to keep the audience engaged through the long stretches of slow-burning heavy-handed dialogue. However, the way the production elements are assembled is what makes this film work, Ōshima's visual scheme creates a film full of the bare, dark wood interiors of the militia base and the mud brown of uniforms, where just a few significant colours stand out; very traditional of its genre but its elevated by the slow deliberate camerawork. The cast is easily one of the film's biggest perks. You get Takeshi Kitano leading the cast and story just as brilliantly as he always does, but it's the combo of Tadanobu Asano and Ryuhei Matsuda that truly sparkles. The score by Ryuichi Sakamoto is certainly one of the film's strengths, it pulls away from more traditional sounds of the genre, instead replacing it with Sakamoto's signature sound, it's not one of his most memorable works but it fits the film beautifully. Even though Taboo is relatively open and straightforward about its themes, the actual imagery remains pretty demure and suggestive, even with all its faults, Ōshima's swan song is a film worth watching. See more

S R @ScottR Sep 12, 2023 1001 movies to see before you die. It was well made, just something I wasn't very interested in. It was on Daily Motion. See more

William L @RT77267842 Jun 7, 2021 So. Many. Wipe transitions. Feels like I'm watching a Star Wars prequel. Despite introducing a completely original premise that explores content that may have been considered subversive upon release - homosexuality in notoriously conservative Japanese society, particularly within the masculine warrior class in the pre-Meiji era (before Western influence was widespread, when Japanese society maintained some form of 'domestic purity' in the eyes of some who put Japanese culture on an infallible pedestal - Gohatto is surprisingly tame, rather plodding, and lacking in nuance. Essentially everyone in this film experiences some form of homosexual attraction to Matsuda's androgynous warrior Kanō Sōzaburō given the opportunity, resulting in a combination of subdued comedic and subtly competitive moments intended to subvert the image of unblemished masculinity that the culture ostensibly valued. The residual plot - a rivalry between the domestic police force and warrior clans, is pretty poorly integrated and not all that compelling. But the most difficult part to come to terms with is the editing - some well-conceived cinematography is often put to waste by clumsy title cards, poor timing, and extraordinarily jarring wipe cuts. Certainly an innovative idea on paper and with good elements in the mix, but poor execution really ties the film down as a whole. (2.5/5) See more

Mar 20, 2017 The most realistic-yet-satisfying katana fights in any samurai movie I've seen. See more

Aug 22, 2015 It's a weird movie and almost funny in a way- but also compelling. The presence of Kano that delivered perfectly by Ryuhei Matsuda must be enough to make this film interesting. Damn, though maybe in the end we realized that this film is only about him wants some flings, like all those horny men I definitely root for him too~! See more

Jun 24, 2015 It has a sense of underlying tension, drama and betrayal, very well-made. See more

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Taboo

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