venoms5
06-22-2008, 09:30 PM
BLACK BELT 2007 aka KURO-OBI
Akihito Yagi--President International Meibukan Goju Style Karate (Giryu), Tatsuya Naka--Master Japan Karate Association (Taikan)
Martial Arts Director: Fuyuhiko Nishi/ Action Co-ordinator: Akihiro Noguchi
Directed by Shuntaro Nagasaki
In 1932 having conquered Manchuria, the Imperial Army of Japan establishes itself as a powerful new force. Prior to the end of the Qing era, martial arts schools were protected by the government. The Kenpeitai (Japanese military) decides to also take control of all the martial arts schools in Japan. However, one such school, the Shibahara Eikan Karate dojo, is reluctant to allow such a takeover. After Taikan shows much force against his opponents, Eikan decides Giryu should defend against the Lieutenant. Without attacking him, Giryu humiliates the military leader. The soldiers leave in shame. Some time later, Eikan dies. His three top students are entrusted with one day inheriting the Kuro-obi (Black Belt) of the school but it will only go to the one who acquires Eikan's way of Karate--defense without attack. After receiving another notice that the dojo's will be used to train troops, the students relent and on their way to the army encampments, Giryu is attacked by the children of the Lieutenant who has killed himself in disgrace. Giryu seemingly dies being sent over a cliff to a waterfall below. Taikan then assumes the position of chief instructor. He ignores his teachers orders and soon embraces the dark side of his soul leading to violence and death. Giryu returns and an ultimate final duel is set between himself and Taikan, the Karate master obsessed with procurement of the Kuro-Obi.
Totally brilliant character driven action drama from director Shuntaro Nagasaki. As much time is spent on building these wonderful characters, the film features ample action sequences in its 95 minute running time. A strong story and a meaningful message unlike most all martial arts movies. However, there's no shortage of action but these scenes resonate with more significance than the average fist-and-kick feature. Despite the plentiful action, so much more is said about discipline through the art of defense and the consequences of violence without continence.
The characters of Taikan and Giryu are the main focal points of the picture and represent 'result through force' and 'result without force' respectively. There is a third student, Choei, but his skill isn't as strong as the other two and he is crippled at the beginning by a soldiers sword when he attempts to keep Taikan from attacking the regiment. Back to the two main participants, Taikan wishes to pummel or eliminate his obstacles supplanting his superiority on any and all those who challenge him. Giryu, on the other hand, follows his Sensei's teachings never doing unnecessary harm to those unskilled that go against him. It is this dynamic that foreshadows an eventual clash between the two colleagues who have obviously trained for years alongside one another. Taikan, with his stubborn and arrogant disposition is clueless until the final moments of the film, of what his teacher meant by saying, "One's skill is not for use against one's enemy. It is just for oneself. The time to use all of your skills comes only at one crucial moment in your life." Taikan is blind to this and seeks instead to force his dominance on other schools in the area much like the Kenpeitai has used their ascendancy for wrongful means such as sharing an alliance with the Yakuza.
Although Taikan eventually breaks his Sensei's rules, he never becomes a true villain. Even though he is overtaken with power and the desire to show he is the best at his art, some semblance of respect to his master and duty of honor remains. This is seen in at least two sequences--one in which Giryu goes with Kenta to rescue a number of women who have been sold into prostitution by farmers who owe money to gangsters. Kenta is threatened with death lest Giryu surrender himself. The gangsters then beat him severely and plan to toss him into the river. Kenta runs to a nearby brothel and by chance, Taikan is inside with one of the women. He goes to his former classmates rescue and easily defeats the assailants. He does realize Giryu was only overtaken because the boy was used as a hostage but he says that he can only fight without fighting for so long. The other sequence where Taikan shows his humanity is towards the end when Giryu marches out to an inevitable death against a squad of rifle bearing soldiers led by the cruel Captain Goda. Taikan interferes and threatens the Captain with death if he intervenes demanding the two are allowed their date with destiny. In between these two scenes there is a duel between Taikan and the master of another school, Togo Takaori. Togo is incensed that Taikan has become the military's dog training their soldiers having forsaken his teachers traditions. This duel is a tense one. When it appears likely Taikan will overpower Togo, Choei shouts that the match be stopped. Too late, as the death blow is delivered and Choei demands Taikan explain his actions. His response is a line that is repeated over the course of the film, "How can he live with this shame?" Taikan's demeanor displays an unmoved and detached aura that shows no emotion for having killed a man. His next line is, "Togo and myself, our wishes were the same".
Whereas Taikan is easily the most complex individual found in the film, Giryu is the unwavering true strength of the piece. Taikan explains to him after saving him from the Yakuza, that he needs to embrace his evil side to survive. To an extent, this is true, but Taikan is consumed by it and temporarily loses sight of his masters training and is the reason why he never fully understands his schools traditions till the end. Giryu is the less interesting character but his person represents the humanity that shines over everything else. During the final fight between Giryu and Taikan (shot entirely in black and white only reverting back to color once the fight is over) Giryu refuses to fight back preferring to defend and evade which incenses Taikan proclaiming, "Do not underestimate me, you can't beat me with defense!" Remembering what Eikan said earlier about using your skill at one crucial moment comes into play here leading into one of the most exciting fight sequences of recent memory.
Which brings us to the fight choreography itself. Simply some of the best ever put on screen. A little bit of everything is shown here from defensive maneuvers, to forceful and powerful attacks, to evasive and counter throws and utterly devastating killing blows. The two main participants are real martial artists in real life and the attacks are precise and pin point movements of fists and feet. The breathing techniques will instantly recall Sonny Chiba's many Karate movies but here, everything is taken seriously all to the accompaniment of a wonderfully poignant and suitably heightened score by Naoki Sato. Every fight scene in this movie is memorable, different and beautifully executed.
KURO-OBI (2007) is one of the best serious movies I've seen in a long while and I'd recommend it highly to any fan of either kung fu or Japanese martial arts cinema as this film has a message behind its "matches". At both times cerebral and stirring, there are exuberant and complex characters with more than enough excitement to not only cater to the art crowd but those seeking some intense, bone shattering action. The highest accolades for everyone involved.
Akihito Yagi--President International Meibukan Goju Style Karate (Giryu), Tatsuya Naka--Master Japan Karate Association (Taikan)
Martial Arts Director: Fuyuhiko Nishi/ Action Co-ordinator: Akihiro Noguchi
Directed by Shuntaro Nagasaki
In 1932 having conquered Manchuria, the Imperial Army of Japan establishes itself as a powerful new force. Prior to the end of the Qing era, martial arts schools were protected by the government. The Kenpeitai (Japanese military) decides to also take control of all the martial arts schools in Japan. However, one such school, the Shibahara Eikan Karate dojo, is reluctant to allow such a takeover. After Taikan shows much force against his opponents, Eikan decides Giryu should defend against the Lieutenant. Without attacking him, Giryu humiliates the military leader. The soldiers leave in shame. Some time later, Eikan dies. His three top students are entrusted with one day inheriting the Kuro-obi (Black Belt) of the school but it will only go to the one who acquires Eikan's way of Karate--defense without attack. After receiving another notice that the dojo's will be used to train troops, the students relent and on their way to the army encampments, Giryu is attacked by the children of the Lieutenant who has killed himself in disgrace. Giryu seemingly dies being sent over a cliff to a waterfall below. Taikan then assumes the position of chief instructor. He ignores his teachers orders and soon embraces the dark side of his soul leading to violence and death. Giryu returns and an ultimate final duel is set between himself and Taikan, the Karate master obsessed with procurement of the Kuro-Obi.
Totally brilliant character driven action drama from director Shuntaro Nagasaki. As much time is spent on building these wonderful characters, the film features ample action sequences in its 95 minute running time. A strong story and a meaningful message unlike most all martial arts movies. However, there's no shortage of action but these scenes resonate with more significance than the average fist-and-kick feature. Despite the plentiful action, so much more is said about discipline through the art of defense and the consequences of violence without continence.
The characters of Taikan and Giryu are the main focal points of the picture and represent 'result through force' and 'result without force' respectively. There is a third student, Choei, but his skill isn't as strong as the other two and he is crippled at the beginning by a soldiers sword when he attempts to keep Taikan from attacking the regiment. Back to the two main participants, Taikan wishes to pummel or eliminate his obstacles supplanting his superiority on any and all those who challenge him. Giryu, on the other hand, follows his Sensei's teachings never doing unnecessary harm to those unskilled that go against him. It is this dynamic that foreshadows an eventual clash between the two colleagues who have obviously trained for years alongside one another. Taikan, with his stubborn and arrogant disposition is clueless until the final moments of the film, of what his teacher meant by saying, "One's skill is not for use against one's enemy. It is just for oneself. The time to use all of your skills comes only at one crucial moment in your life." Taikan is blind to this and seeks instead to force his dominance on other schools in the area much like the Kenpeitai has used their ascendancy for wrongful means such as sharing an alliance with the Yakuza.
Although Taikan eventually breaks his Sensei's rules, he never becomes a true villain. Even though he is overtaken with power and the desire to show he is the best at his art, some semblance of respect to his master and duty of honor remains. This is seen in at least two sequences--one in which Giryu goes with Kenta to rescue a number of women who have been sold into prostitution by farmers who owe money to gangsters. Kenta is threatened with death lest Giryu surrender himself. The gangsters then beat him severely and plan to toss him into the river. Kenta runs to a nearby brothel and by chance, Taikan is inside with one of the women. He goes to his former classmates rescue and easily defeats the assailants. He does realize Giryu was only overtaken because the boy was used as a hostage but he says that he can only fight without fighting for so long. The other sequence where Taikan shows his humanity is towards the end when Giryu marches out to an inevitable death against a squad of rifle bearing soldiers led by the cruel Captain Goda. Taikan interferes and threatens the Captain with death if he intervenes demanding the two are allowed their date with destiny. In between these two scenes there is a duel between Taikan and the master of another school, Togo Takaori. Togo is incensed that Taikan has become the military's dog training their soldiers having forsaken his teachers traditions. This duel is a tense one. When it appears likely Taikan will overpower Togo, Choei shouts that the match be stopped. Too late, as the death blow is delivered and Choei demands Taikan explain his actions. His response is a line that is repeated over the course of the film, "How can he live with this shame?" Taikan's demeanor displays an unmoved and detached aura that shows no emotion for having killed a man. His next line is, "Togo and myself, our wishes were the same".
Whereas Taikan is easily the most complex individual found in the film, Giryu is the unwavering true strength of the piece. Taikan explains to him after saving him from the Yakuza, that he needs to embrace his evil side to survive. To an extent, this is true, but Taikan is consumed by it and temporarily loses sight of his masters training and is the reason why he never fully understands his schools traditions till the end. Giryu is the less interesting character but his person represents the humanity that shines over everything else. During the final fight between Giryu and Taikan (shot entirely in black and white only reverting back to color once the fight is over) Giryu refuses to fight back preferring to defend and evade which incenses Taikan proclaiming, "Do not underestimate me, you can't beat me with defense!" Remembering what Eikan said earlier about using your skill at one crucial moment comes into play here leading into one of the most exciting fight sequences of recent memory.
Which brings us to the fight choreography itself. Simply some of the best ever put on screen. A little bit of everything is shown here from defensive maneuvers, to forceful and powerful attacks, to evasive and counter throws and utterly devastating killing blows. The two main participants are real martial artists in real life and the attacks are precise and pin point movements of fists and feet. The breathing techniques will instantly recall Sonny Chiba's many Karate movies but here, everything is taken seriously all to the accompaniment of a wonderfully poignant and suitably heightened score by Naoki Sato. Every fight scene in this movie is memorable, different and beautifully executed.
KURO-OBI (2007) is one of the best serious movies I've seen in a long while and I'd recommend it highly to any fan of either kung fu or Japanese martial arts cinema as this film has a message behind its "matches". At both times cerebral and stirring, there are exuberant and complex characters with more than enough excitement to not only cater to the art crowd but those seeking some intense, bone shattering action. The highest accolades for everyone involved.