The Third Murder

The great lawyer Shigomori accepts a delicate case, the defense of Misumi, accused of theft and murder. Misumi, who thirty years earlier had served a prison sentence for murder, is now facing the death penalty. Astonishingly, the accused does not seem to care at all about his lot, the best evidence being that he does nothing to help his defender avoid it.

A specialist in childhood and family relations, Kore-eda ventures here into unfamiliar territory, the judicial thriller. The film raises interesting questions about the relativity of justice while at the same time keeping up the mystery: why does the accused, whose guilt is far from being proven, play cat and mouse with his defender and put obstacles in his way when he does everything in his power to save him from being hanged? Unfortunately, too much chatter and slowness diminishes the effectiveness of the film. But there are undeniable good points : the subtle acting of the two main protagonists, the beautiful nostalgic music by Ludovico Einaudi as well as the end of the film, a little more tonic than what preceded it. Quite a fair work on the whole but not up to the level of " Nobody Knows " or " Like father Like Son ".

The defense attorney Shigemori (Masaharu Fukuyama) is summoned to help his coworkers in a murder case. The prisoner Misumi (Kôji Yakusho) has confessed the murder of his former boss and factory owner that was burnt to ashes nearby a river to rob his wallet to pay debts in gambling. Misumi will face death penalty since thirty years ago he killed another man and was defended by Shigemori´s father. Shigemori´s purpose is to change the sentence from death penalty to life. Shigemori is not satisfied with the lack of evidences of the case and notes that Misumi changes his testimony in each interview. He decides to investigate deeper the case and questions the true motive for the murder.

"Sandome no satsujin", a.k.a. "The Third Murder", is a tribunal and fatherhood drama with a screenplay with many twists. The storyline is based on a murder case with a confessing defendant and his new attorney seeking evidences to learn the truth. In common, there is the fatherhood: Shigemori is an absent father due to his dedication to his profession. Misumi is also an absent father since he has spent his last thirty years imprisoned. The victim was an abusive father and Misumi connects to his daughter as a second chance in life. In the end, was the murder to pay a debt with the Yakuza or a righteous justice act? My vote is seven.

Title (Brazil): "O Terceiro Assassinato" ("The Third Murder")

It's interesting that Koreeda approaches an apparent thriller in the same way he approaches his family dramas. In fact, this is a drama and, as usual for him, a film about people and grey areas. Here, he addresses the difference between legal justice and what may be ethically acceptable even if a crime.

It's not an easy film, with a quite slow pace and few events that capture our interest. Despite loving thrillers and loving Koreeda's usual style, this film left me wanting much more. Nevertheless, the approach is interesting, the performances are very good, it's beautifully shot (with incredible mirror shots), and the ethical issues it raises stay with us.

Included in the extras on the Arrow disc of this film is a very thoughtful piece by Tony Rayns. He was careful to avoid as many spoilers as possible and as it turns out I would have done well to listen to him before watching the film. The Japanese judicial system, it turns out, is very different from everybody else's and the 'trial', it would seem is no such thing. Even with the recently reintroduced jury (who seem to play little part) the defendant is pretty much assumed guilty and the whole procedure an opportunity for society, in the form of the judge, to smooth things over and be as precise as possible as to sentence. All this would have helped when watching this rather long and complicated tale. Most of the 'complications' however occur in the matter surrounding admission of guilt and the fact that here, the truth and actual guilt are a moving feast (complete with seeming unreal flat-backs) makes for a difficult ride for the uninitiated. Powerful, nevertheless, with fine central performances and whilst I felt watching the film, that one viewing would be enough, learning more has led me to suppose another viewing might be more enjoyable.

One of the most psychologically and thematically complex autopsies of truth, ethics, and morality I've seen. It reminds me of Rashomon in some respects, except that much of the fluidity and subjectivity of truth in this movie is found within a single character, and within societal systems of "truth-seeking," i.e., the "justice" and legal systems. Even the camera movement in this film is perfectly attuned to those themes, subtly moving into, over, and out of scenes from all directions. Koji Yakusho is superb as usual, and all other acting and casting is excellent as well, as is the score and the editing. I will be thinking on this one for a while.