Tuesday, May 16, 2017
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTION: *metaphysical, sociological*
Based on the translations of Osamu Tezuka's DORORO series, this Japanese live-action film is a rare example of the film registering as better than the source-work.
Tezuka's concept for the manga-series is episodic in nature. A ruthless feudal lord named Daigo chooses to sacrifice his infant son to multiple demons, so that he Daigo can gain temporal power. The demons then harvest nearly every functional part of the baby's body-- for what reason, I never quite understood-- so that the child is no more than a dying lump of flesh. However, a brilliant medical man finds the lump before it expires. The doctor builds artificial limbs and other organs for the child, allowing him the chance to grow to maturity. When the child, dubbed "Hyakkimaru," grows to manhood (played by Satoshi Tsumabuki), he's informed that he can reclaim the body-parts stolen from him by slaying the demons who harvested them. The following episodes in Hyakkimaru's career deal with him wandering from Japanese town to town, killing demons and reclaiming his lost parts. If he kills a demon that stole one of his eyes, a magical transference returns his original eye to him, squeezing one of the swordsman's artificial eyes out of his skull. However, after Tezuka ran through assorted episodes-- adding comic relief in the form of a thief named Dororo-- the manga-artist seemed to lose interest in the story, giving the narrative a "hurry-up-and-finish" conclusion. Allegedly a 1969 anime adaptation provided a more satisfying ending.
The live-action film, not being episodic at all, manages to focus more upon the relaitonship between Dororo and Hyakkimaru, often treating the encounters with various demons more like lively music videos than like organic parts of the story. In the original tale, Dororo is an urchin bent on stealing Hyakkimaru's sword, but the two of them bond through shared danger-- and to some extent, because Dororo, who dresses as a boy, is actually a young girl, who forms a quasi-romantic attachment to the older swordsman. Not surprisingly, the makers of the 2007 film didn't go there, for this time Dororo is portrayed by a grown woman (Ko Shibasaki)-- and while she gives a fine performance, she isn't for a moment believable as a boy.
The best aspects of Tezuka's story are preserved in the film. Feudal Japan is no picnic for the poor, particularly when power-hungry rulers go to war, and Dororo and Hyakkimaru, who have themselves suffered from such power-grabs, constantly encounter evidence that humans are even worse than demons in this respect. In fact, Dororo has sworn vengeance against the family of Daigo, and is less than pleased to learn of Hyakkimaru's heritage. The ending places a strong emphasis on Hyakkimaru's psychological need to vanquish his father, which conflicts with Japan's cultural insistence than the father is sacrosanct.
There are some clever uses of both "suit-mation," limited CGI, and "wire-fu" in DORORO, which I liked a good deal more than a lot of modern, over-produced CGI effects. But the two primary actors provided the film's best asset, the unambiguous girlhood of Dororo notwithstanding.