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The Butterfly
Tornado Alley
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It is a terrifying system that will never yield
Director Kurosawa takes aim at greed and malevolent corporate and bureaucratic power in The Bad Sleep Well. He sends one man tilting at that explosive windmill in an effort to enact revenge and seek justice. Inspired by Hamlet, dare we even hope Mifune Toshiro can topple the unseen forces driving the action in this film?
If the opening scene seems familiar, it’s because Francis Ford Coppola raved about it and the opening scene for the Godfather was inspired by it. A wedding reception for a young couple is overshadowed by the corporate cronies and executives preening for Iwabuchi, the Vice President of the company whose daughter Yoshiko married his male secretary, Nishi. A cake in the shape of the building where a man jumped (or was pushed) to his death five years before is wheeled in with a rose protruding from the deadly seventh floor window. As the reporters in the background share their cynical and fairly accurate take on the people involved, they give us the exposition we need to catch up with who we should be wary of- the "clean-up crew" of graft and why the cake is an omen.
It takes nearly 35 minutes for Mifune Toshiro to have his first lines and tell us what we are already suspect. He is the son of the murdered man and is orchestrating a complex revenge plan against the men responsible, even going to the lengths of marrying his enemy's daughter.
Like the mob looking for bribes, the Public Corporation for Land Development has been taking money and kick-backs from companies, most recently a deal with Dairyu. And like the mob, those at the top are untouchable, their subordinates completely loyal, and those who fail or question are expendable.
Nishi is willing to sacrifice everything, even his own sense of morality, to bring down the men who murdered his father. "It's not easy hating evil. You have to stoke your own fury until you become evil yourself." He's aware many of the things he's doing are illegal he’s and more than willing to go to prison if he can succeed with his plan. His fatal flaw is underestimating not only the murderous intent and moral bankruptcy of his adversary, but also the sheer size of the invisible evil that looms just out of sight. When everything looks like it's going Nishi's way, that justice will prevail, one crack threatens destruction.
Though Nishi has no issue ruining Public Corp's pawns-Wada, Shirai, and Moriyama, he does have lines he will not cross. The Vice President and the master he answers to, have no such compunctions. Nishi lacks the hate his enemies have. He doesn't realize that what he thinks is a monolith of power is connected to others and there is no way out without being crushed by their cruel intentions. Unlike Ikiru who broke through the bureaucratic wall, Nishi broke his body against it. It was not like he wasn't warned. "It is a terrifying system that will never yield," Wada warned him. This corporate ronin replied, "Everyone feels that way and gives up. That's how they get away with it."
Another flaw for the main character is that Nishi fell in love with his wife. Yoshiko is so innocent and useless that it is hard to feel sorry for her and easy to feel rage when she becomes the linchpin of doom.
I have no complaints with the hopeless tale of revenge. It takes more than a son's vengeful anger to bring down city hall or in this case government and corporate entities. My issue is that what could have been the most poignant event in the movie happened off camera, taking all the emotional punch out of it. This was one of those times when we should have been shown not told.
Kurosawa gave us a brutally unforgiving film about one man standing up to the corrupt machine. He was unflinching in showing how such power can crush those who oppose it and innocent bystanders along the way. Despite the flawed issue I mentioned, overall, I found the film tragic, well written, well-acted, and captivating. The film is even more meaningful because those bastions of power and avarice have only grown stronger and larger since Kurosawa's day. As he said, "I made this film too soon."
1/31/23
If the opening scene seems familiar, it’s because Francis Ford Coppola raved about it and the opening scene for the Godfather was inspired by it. A wedding reception for a young couple is overshadowed by the corporate cronies and executives preening for Iwabuchi, the Vice President of the company whose daughter Yoshiko married his male secretary, Nishi. A cake in the shape of the building where a man jumped (or was pushed) to his death five years before is wheeled in with a rose protruding from the deadly seventh floor window. As the reporters in the background share their cynical and fairly accurate take on the people involved, they give us the exposition we need to catch up with who we should be wary of- the "clean-up crew" of graft and why the cake is an omen.
It takes nearly 35 minutes for Mifune Toshiro to have his first lines and tell us what we are already suspect. He is the son of the murdered man and is orchestrating a complex revenge plan against the men responsible, even going to the lengths of marrying his enemy's daughter.
Like the mob looking for bribes, the Public Corporation for Land Development has been taking money and kick-backs from companies, most recently a deal with Dairyu. And like the mob, those at the top are untouchable, their subordinates completely loyal, and those who fail or question are expendable.
Nishi is willing to sacrifice everything, even his own sense of morality, to bring down the men who murdered his father. "It's not easy hating evil. You have to stoke your own fury until you become evil yourself." He's aware many of the things he's doing are illegal he’s and more than willing to go to prison if he can succeed with his plan. His fatal flaw is underestimating not only the murderous intent and moral bankruptcy of his adversary, but also the sheer size of the invisible evil that looms just out of sight. When everything looks like it's going Nishi's way, that justice will prevail, one crack threatens destruction.
Though Nishi has no issue ruining Public Corp's pawns-Wada, Shirai, and Moriyama, he does have lines he will not cross. The Vice President and the master he answers to, have no such compunctions. Nishi lacks the hate his enemies have. He doesn't realize that what he thinks is a monolith of power is connected to others and there is no way out without being crushed by their cruel intentions. Unlike Ikiru who broke through the bureaucratic wall, Nishi broke his body against it. It was not like he wasn't warned. "It is a terrifying system that will never yield," Wada warned him. This corporate ronin replied, "Everyone feels that way and gives up. That's how they get away with it."
Another flaw for the main character is that Nishi fell in love with his wife. Yoshiko is so innocent and useless that it is hard to feel sorry for her and easy to feel rage when she becomes the linchpin of doom.
I have no complaints with the hopeless tale of revenge. It takes more than a son's vengeful anger to bring down city hall or in this case government and corporate entities. My issue is that what could have been the most poignant event in the movie happened off camera, taking all the emotional punch out of it. This was one of those times when we should have been shown not told.
Kurosawa gave us a brutally unforgiving film about one man standing up to the corrupt machine. He was unflinching in showing how such power can crush those who oppose it and innocent bystanders along the way. Despite the flawed issue I mentioned, overall, I found the film tragic, well written, well-acted, and captivating. The film is even more meaningful because those bastions of power and avarice have only grown stronger and larger since Kurosawa's day. As he said, "I made this film too soon."
1/31/23
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