Taboo (2000)

This fascinating, gorgeous film examines homosexual passions among the samurai of an 1865 militia. Taboo centers around a young samurai named Kano, whose smooth face and soft beauty makes him an object of desire. Rumors about who might be his lover lead to a love triangle, dazzling swordfights, and a mysterious murder. The story is intriguing enough, but what makes Taboo even more striking is that the heterosexual samurai treat their comrade's queer leanings as possibly dangerous, but only because of the potential for jealousy and inflamed passions--there's no sense that they see it as unnatural or even unmanly, in striking contrast with the American military view. Japanese superstar Beat Takeshi (Fireworks, Sonatine) plays a samurai captain struggling to maintain order in the ranks. Elegantly directed by Nagisa Oshima (In the Realm of the Senses, Merry Christmas, Mr. Lawrence). --Bret Fetzer Amazon.com

Enjoyable and intellectually stimulating.

This movie was very enjoyable to watch. There are a lot of layers in the storyline, the scenery is great, the costumes are great, and the acting, especially, is great.

The movie is basically a bunch of psychological examinations of the characters with great sword fighting sequences in the middle (it seems like most of the actors know how to sword fight themselves without stunt doubles). A very intellectually stimulating movie.

DO NOT see this movie if you are interesting in learning about the homosexual community in Japan. The movie is fiction and it certainly does not try to venture into social commentary. The movie does not address social oppression or even how the characters feel about their homosexuality with any remote introspection. That is actually the reason I gave this movie 4 stars instead of 5. It only vaguely awkwardly addresses the aforementioned things in one tiny subplot. June 19, 2008

Samurais' gay love and murder

This film may be slow for our standards, as we are more related with quick action when thinking about samurais. However, it could be interesting if some previous "clues" are known.
1) Homoerotic relationships were accepted in Japan. It was until the 2nd half of 19th century, when Japan wanted to be cope with Western Culture, that these relationships vanished from public records.
2) Homoerotic relationships followed a cultural and social code, were ranking of those involved -lover, loved and their lord- were as important as the ways to offer your love to another man. Even hairdoes were related to roles (young pages used long locks and were loved-ones, grown-ups used adult hairdoes and were lovers, in the erastes-eromenos model, similar to Greeks). This film is based in that.
3) This film becomes a thriller, as main characters are breaking those rules and some murderers are planned, around a same-sex lovers couple.
4) To understand last scene, we must remember that poetic figure to describe someone beautiful and good is to compare her/him with a cherry blossom. Cutting it down means the guy is not worth admiring.
So, this film is interesting. If you want to read about homoerotics among samurais,look for a colection of short stories written by SAIKAKU IHARA in the 17th century. Those are cute! June 9, 2008

BIG TROUBLE IN A SAMURAI SCHOOL

1999. Written and directed by Nagisa Oshima (In the Realm of the Senses). 10 nominations for the Japanese Academy awards. A young samurai seduces his companions and creates chaos in Takeshi Kitano's school. Oshima's comeback, 13 years after his last movie, is worth the expectation. October 6, 2007

High quality

a product not available in Australia, bought at a reasonable price from Amazon and in perfect condition ---- thanks March 9, 2007

Not for people who want a hollywood ending

This lovely film about a young man whose beauty eats other men's souls asks more questions than it answers. Yay! I've read so many reviews of this film that express dissatisfaction with its ethereal vagueness. But that's kinda the point. People in Japan in 1860, or today for that matter, don't generally see being gay as an identity, but as an action or series of actions. Expecting the characters to somehow come out of the closet is a peculiarly western demand. Ambiguity of morals, responsibility, blame, action are all pretty typical of Japanese cinema. Like pistachio ice cream, it's not the flavor for everyone. Other reviews complain that Matsuda Ryuhei's looks are more bizarre than beautiful. Once again, he looks Japanese. Zhang Ziyi in Memoirs of a Geisha is not what real Japanese people, let alone idealized 19th century ones, look like. This film really explores perversity. Not because of a bit of semi-graphic sodomy, but because almost everyone in the film loses their moral compass over a pretty face. What makes it titillatingly icky is the fact that Matsuda Ryuhei was only 15 when this was filmed. November 19, 2006

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