The Third Murder

"I've only made two so far and I want to try making a wide variety of films. I want to make action films, period films."

(Kore-eda Hirokazu, 1999)

Speaking with Mark Schilling for Premier back in 1999 with only "Maboroshi no Hikari", "After Life" and his documentaries under his belt, it was clear Kore-eda was going down the route of the auteur, though his penchant for the unconventional family drama was still some years to come. Since 2008's seminal "Still Walking", "Air Doll" aside (which is probably where it can stay), his work has seen weak father figures, bickering couples, children fending for themselves and grandparents that know best.

But with 2006's "Hana" Kore-eda's biggest step into new territory so far with a period piece, his latest film "The Third Murder" sees him take on the courtroom drama: a genre typically building suspense to the inevitable plot twist reveal.

Misumi (played by hair connoisseur Koji Yakusho) confesses to the murder of a local factory owner: his former boss. A convicted murderer on two counts in his native Hokkaido, it comes soon after his release form his thirty year sentence, and as such, he is likely to face the death penalty. Up steps Shigemori (taller-than-average Masaharu Fukuyama) and his legal firm to defend Misumi: their sole purpose to reduce his charge from murder and burglary to murder and theft, thus potentially seeing Misumi cheat death.

Misumi, playing the sap, goes along with Shigemori's idea, but the more Shigemori delves, the less it seems a clear, open-and-shut case. "Links" are uncovered between Misumi and his former boss' widow and their daughter, Sakie (our little sister Suzu Hirose) - seemingly the victim of her father's abuse. As such, Shigemori  starts to question the true motives of Misumi, not just as a legal case, but as to the true nature of justice.

With so many lives affected, a selection of narrative options are offered, without giving a firm conclusion as to which was the true course of events, leaving Shigemori questioning his role, as Misumi realises his end goal.

Plot twists in suspense dramas compare to trying to make people jump in horror films: they're a cover for lacking anything truly captivating to say or show. As such, the nature of offering many potential stories could lead to a confused mess of a film, but Kore-eda, while working in a different area, is becoming something of a master at evaluating the human condition, using the contradictory narratives to leave you questioning truth and motive, rather than a simple twist at the end to try and keep you interested.

Social comment as to the justice system is offered throughout, perhaps sometimes a little too plainly, though always aimed at the morality and ethics of an organised justice system. Misumi may have admitted to the murder, but the more he reveals, the less straightforward his guilt becomes. Shigemori - oft referred to as a lawyer who keeps criminals from facing their guilt by family and foe alike - simply deconstructs narrative to fit his case for the defence.

As with "Like Father, Like Son", the lead characters' differences create archetypes to help Kore-eda in making his point. Shigemori, as with Nonomiya, starts from the moral high ground, but soon realises he is the one who needs to ask himself some searching questions. Shigemori and Misumi hold an obvious - and sometimes literal - mirror to each other, with Fukuyama's character again having to be the one to concede, much as Hiroshi Abe finds himself in "Still Walking" and "After the Storm". 

Stylistically, there are perhaps some more mainstream cinema staples put to use, Kore-eda perhaps trying to take himself out of the comfort zone he may have slipped into. Shigemori's dream sequence is somewhat out-of-the-norm, as well as attempts at more poignant visuals to music, in an attempt to create iconic shots. For some this may be seen as a further decline into mainstream cinema, away from the more masterfully understated work of his first two films. However, it could also be perceived as a bridging of a gap, with the film taking the top awards at the Japan Academy Prizes a step in the right direction for Japanese cinema: one of the nation's best working directors getting his just rewards.

A legal drama, "The Third Murder" doesn't necessarily rely on the suspense of a thriller, but still keeps you watching as to what transpires before you. Despite some differences, this is very much a Kore-eda film: Shigemori, Misumi and Misumi's victim all play the role of weak father figures, with Shigemori's father the grandfather with greater knowledge. No easy solutions are offered, with greater happiness found away from one's initial objectives.

The "face-to-face" scene between Shigemori and Misumi towards the film's end offers some of the iconic shots perhaps aimed for, with Yakusho cementing himself as one of Japan's all-time great actors, deserving of his Best Supporting Actor gong at the Japan Academy Prizes. What starts off as a seemingly bumbling, forgetful and absent-minded fool, develops into a character of many layers. The truth is that Misumi wants to control people. By changing his story, resulting in the outcome Shigemori fought against, Misumi, the murderer, certainly held power over the lives of others.

The World of Kanako (58th BFI London Film Festival)

Tetsuya Nakashima is a director that pops up every couple of years with a film that can only be described as 'ruddy good.' I first saw 'Kamikaze Girls' and 'Memories of Matsuko' within about an hour of each other a few years back and enjoyed both. I then anticipated and enjoyed (as much as you can) 'Confessions' which soon followed. So after a few years off, Nakashima returns with 'The World of Kanako', and was I excited?!

Akikazu Fujishima is an absolute bastard. A real piece of the proverbial. Losing his job as a detective  due to his mental health, he soon gains alcoholism and a job as a security guard, but loses his wife and daughter. Living in his own filth, he suddenly receives a call from his estranged wife asking if he's seen their daughter. With a number of recent murders connected to his missing daughter, Akikazu soon becomes caught up in police investigations, frequent battles with his wife and gang violence. In true Hollywood-style, he decides to take the case of his missing daughter on himself, discovering the world of his daughter that he never knew, and maybe wishes he never did.

Starring Koji 'always in the big film' Yakusho as Mr Bastard, the film starts with Tarantino-esque retro titles, loud, brash and in your face. This sets the standard for two hours of intense, graphic and probably over-the-top cinema. 'The World of Kanako' is a good film, but you come away thinking that it could have been a bit simpler.

There are definite elements of the three previously mentioned Nakashima films all present here: The in-your-face, cartoonish styling of 'Kamikaze Girls'; the epic life story, enigmas and musical montages of 'Memories of Matsuko'; and the, at times, overly intense psychology of 'Confessions'. All are employed effectively here again, creating a extreme, dark and out-of-this-world experience for both the characters and viewers alike.

But, a little like Tarantino, things get a little indulgent here. Most obviously is the violence: blood splatters across pretty much every scene with teenage acne-like glee, with the make-up department working overtime in getting everyone's face suitably disfigured. Everyone hits everyone hard, with sound effects to match, and then they walk into the next scene for it all to happen again. While I don't mind a bit of violence on screen , when it's relentless it can become both a little boring and lacking impact.

The switching between past and present also gets a little overdone, though generally throughout is the film's strength in creating both mystery and builds as the film continues. Though by the end, the switching becomes too frequent, blurring the lines between the past and the present, with endless editing.

The films starts well, but starts to fall off as the end grows nearer. The violence becomes too much, cartoon-like in a film that creates an intense atmosphere. More and more characters come in towards the end, that maybe didn't need introducing. But disappointingly the intensity that is built throughout the film gets lost in this violence, seeing the viewer switch off and despite trying lacks the well rounded conclusion of 'Memories of Matsuko' and 'Confessions'. But Nakashima is a director that can certainly create an experience through cinema.

This year's BFI London Film Festival, the 58th incarnation, was record-breaking in its attendances. Six films seen from five countries, one of which I can describe as a 'ruddy belter.' The rest all promised, delivered to some extents, maybe fell short in others. With the likes of 'Tokyo Tribe', 'Free Fall' and 'The World of Kanako', films now are definitely trying to push boundaries of intensity, experimentation and taste, but as ever, it can be the simpler films that see the most creativity and often result in the best cinematic experience.