Nippon tanjô

The Japanese equivalent of 1956's The Ten Comandments. A lot of this features nomads wondering around in a desert on camels. Then there's Toshiro Mifune, who slays a hydra-esque dragon at the end. As usual, Toshiro Mifune is great. This is a great movie, with an excellent Ifukube score and Tsuburaya special effects but this is just too darn long and slow paced, it's really a chore to sit through. I still recommend it though.

I was unfamiliar with the story behind The Three Treasures and the legendary founding of Japan and Shintoism, and I found the film hard to follow, overly long, and ultimately a bit boring (even the fight between Susanoo (the great Toshiro Mifune) and the eight-headed dragon). Some of the imagery and special effects (from Toho Studios master Eiji Tsuburaya) were very good and the acting fine (for an action-fantasy film). Mifune is fine in the dual role of Prince Yamato Takeru and Susanoo, although I found the Prince's constant credulousness tiring (he is repeatedly lied to yet seems to believe everything he's told). I think I'd need more background in Japanese history and culture to really appreciate this film (fortunately not required to enjoy Toho's rollicking kaiju epics).

I was looking forward to this, because it certainly sounded ambitious and unique. It's an adventure film, fantasy movie, and historical action/drama film all at once, and was apparently made to commemorate 1000 titles produced by legendary Japanese film studio Toho. It's certainly an epic, maybe to its detriment, given it runs for just over three hours and it's far from the most consistent film out there to exceed that length.

If you can embrace or get used to the runtime, and accept that some scenes are more exciting than others, there are some good things here that ultimately make it watchable. Toshiro Mifune is the lead, and he's always great. There's a memorable scene where he gets to fight an 8-headed dragon, too, ultimately giving himself an advantage by getting all eight heads drunk on particularly strong sake beforehand.

That does play out as a fantasy/flashback/dream scene of sorts, though, and is one of several (these sequences are one reason why The Three Treasures feels so long and overstuffed, even if the scenes when judged on their own can be fun). The main story is a little more grounded, and follows a prince being sent on a difficult and multi-layered quest after he's accused of murdering his brother.

The movie is a lot, and it's possible to see how it would have been amazing as an event film for audiences back in 1959. Parts hold up decently well, some sequences are enjoyable, and Mifune's good in the lead role (the supporting cast is also generally pretty strong; plenty of recognizable faces in the numerous roles). But it's certainly not a great epic, and its unevenness means that for everything that works, there's usually something that falls a bit flat. It's able to be cautiously recommended to fans of classic Japanese cinema, but probably few others.

Good, Good and Good, this is the only adjective possible to be used to this jewel of the Japanese cinematography. Culturally is a film to be seen by all, it is amusing and interesting. Here we all learn how we can fight bad things with good behavior and polite talk, something nearly forgotten during these days. The film shows that not always the man can be peaceful but good feelings from humans can help a lot to avoid the violence.

It's almost daunting from the outset, even on paper, to observe the veritable who's who of names and faces who had been operating both behind the scenes and in front of the camera for Toho, for years. The considerable length of three hours is also nothing to sneeze at. It seems terribly ambitious by these measures alone, nevermind the notion of recounting the myths and legends of ancient Japan, and fashioning a tokusatsu epic to rival the most grandiose contemporary epics of Hollywood. With great aspirations come great risk, but great risk also promises great reward upon success. Broadly enjoyable as 'The birth of Japan' is,' and admirable in no few ways with its enormous production, in this instance its overall success is nevertheless somewhat mixed. There is much to appreciate, certainly, but the rough edges in the production are just as evident, and the result is simply not all that it could have been. Even so, the ultimate quality is undeniable, and more than not thsi remains very worthwhile.

Toho wanted a spectacle, and by Jove, they got one. The filming locations are gorgeous, and the sets just as beautiful if not more so, whether we're speaking those rooted in reality or those of a much more fantastical nature. Exquisite imagination and detail was poured into the production design and art direction, and much could be said of other tangible facets like the costume design, hair, and makeup. All this is even more resplendent given the Agfacolor processing from which the movie benefits; if marginally less vibrant here than what we've seen elsewhere, in my estimation mid-century Agfacolor stands right alongside the comparable techniques and technology of contemporary Technicolor, or Eastmancolor, in being more glorious and desirable than what more modern film or digital processing is able to provide. This is to say nothing of the excellent stunts and action sequences, entrancing choreography, or the outstanding effects supervised by Japanese icon Tsuburaya Eiji, as rich and tantalizing as any he had ever given us. The picture further benefits from another terrific, thunderous, dynamic score by esteemed composer Ifukube Akira, ably complementing every mood and scene, and lending tinges of whimsical atmosphere and ponderous gravity to the proceedings. And as if all this weren't enough, we definitely can't fault the cast with their spirited performances, least of all screen legend Mifune Toshiro who invariably walks as if a titan among men.

Be all that as it may, in other regards 'The birth of Japan' is not so sure-footed. We know very well what filmmaker Inagaki Hiroshi is capable of at his best, readily demonstrated in the essential "Samurai trilogy" of 1954-56. He is not infallible, however; in 1969's 'Samurai banners,' for example, the presentation was hindered by an undeniable brusqueness that shortchanged the intended impact off the saga. This 1959 feature is at times marked by that same brusqueness, and is perhaps a smidgen overcharged and uncareful. It's not true across the board, and some sequences are indeed altogether superb; as one example, against all odds, a battle against a kaiju really is one of the top highlights here, being characterized by discernible effort and discretion. Yet other instances are not so fortunate, and some moments kind of raise a skeptical eyebrow. Taira Kazuji's editing is similarly troubled, often bearing a forced, unnatural curtness that's off-putting and regrettable. And in all earnestness, Yasumi Toshio and Kikushima Ryuzo's screenplay also shares the burden of responsibility. The framing is particularly difficult as to some degree we get two stories told in bursts, one within the other, and the shifts to and fro are not always handled so smoothly, producing some disjointedness. But this isn't the only issue facing the writing. It struggles at times to find the right tone, a matter echoed in Inagaki's direction. The writing also struggles at times with basic cohesiveness, as if Yasumi and Kikushima had difficulty devising the best way to communicate some scenes, beats, or ideas, let alone portions of the dialogue. I'll grant the possibility that some such problems in the writing may appear more pronounced for those who are unfamiliar with Japan's tales of yore, but that doesn't make them go away outright.

Still, though I've spoken at length of the faults with this title, it's hardly as if the sum total is bad. On the contrary, more than not it's very commendably well made, and solidly enjoyable. Even with some rockiness in how it is written and realized, the story is compelling and entertaining. Action, adventure, and drama are swirled together with hearty doses of fantasy, and scenes are reliably flavorful despite their imperfections. Not least with Tsuburaya on hand the big action and effects sequences are rather superb - absolutely including the last stretch - reminding in their own way of the most celebrated kindred endeavors seen in Cecil B. DeMille's 'The ten commandments,' William Wyler's 'Ben-Hur,' and other equally fanciful pieces such as 'The 7th voyage of Sinbad,' if not also jidaigeki classics from the same period. It may never achieve the full desired potency, but it endeavored mightily to do so; I recognize what it tried to do, and it does quite well. Would that the writing, direction, and editing were as perfectly, faithfully mindful as Ifukube was with his music, as Tsuburaya with his effects, and all others behind the scenes were with their contributions, for I do think that even the acting is affected in turn - and all the same 'The birth of Japan' surely even gathers strength in the latter half, with those perceived flaws diminishing. It's not wholly impeccable, but in fairness, neither are the most commonly noted points of comparison. Warts and all, Toho's ambitions paid off handsomely more than they did not, and in general I had a good time watching. Unless you're a diehard fan of someone involved there's no need to go out of your way for this, but if you do have the chance to check it out and a big block of time to spare, it's a movie that firmly earns a warm recommendation.