Two NYC cops arrest a Yakuza member and must escort him when he's extradited to Japan.
Two New York cops get involved in a gang war between members of the Yakuza, the Japanese Mafia. They arrest one of their killers and are ordered to escort him back to Japan. In Japan, however, he manages to escape. As they try to track him down, they get deeper and deeper into the Japanese Mafia scene and they have to learn that they can only win by playing the game the Japanese way.
I watched this movie for the first time yesterday and was instantly blown away.<br/><br/>The cinematography and scenery was the main element that got to me. It&#39;s amazing how Ridley Scott can portray a wide array of emotions, atttitudes, and perceptions through the mere use of the dark-toned cyberpunk backdrop of Tokyo and the outer industrial rim.<br/><br/>The acting was for the most part exceptional for a buddy-cop crime movie, and the cream of the crop for its genre.<br/><br/>The major downfall would be the romance subplot (which I found simultaneously distracting and underdeveloped) and how underdeveloped the main villain Sato is. I was curious to look into his past and understand how he came to be the new kid on the block for the Tokyo underground scene.<br/><br/>I was fascinated by the major Kingpin&#39;s story on WWII and its effect on Japanese culture (even when the socio-political effects of war played a part in changing the criminal culture!) and was intrigued by the Yakuza&#39;s customs and methods - which will seem alien to most North American audiences who are used to the usual villains in crime films - Mafia, Russians, petty crooks.<br/><br/>I would rate it a 7.5 out of 10 on a usual scale, but was so surprised by the low rating, I&#39;ve artifically raised it to a 9 to ensure this film gets the credit it deserves.<br/><br/>A must watch and own for any cinema collection.<br/><br/>If you enjoy crime films, drama, buddy-cop, Japanese culture, Ridley Scott&#39;s work or Michael Douglas, then you will ESPECIALLY love it.
Ridley Scott has made at least two memorable films &quot;The Duellists&quot; and &quot;Hannibal&quot; that displayed immense potential of a director who could make intelligent cinema. Even &quot;Aliens&quot; was interesting to some extent. But &quot;Black Rain&quot; was a movie in which Scott showed his lack of knowledge of the Japanese culture–quite in contrast to the extensive research he put into &quot;Hannibal&quot; and &quot;The Duellists.&quot; <br/><br/>Scott in &quot;Black Rain&quot; seems to be comfortable insulting the imagination of the viewers–top US cops signing an important government form all in Japanese, an US cop weighing 80-100 kgs getting inside a airplane food cart that had to be pushed at some point to make good his escape, two US cops who can&#39;t read Japanese walking down an empty Tokyo street at night when they hardly know the city, etc. <br/><br/>If any director wanted to make this movie, he/she should have a feeling for Japanese sensibilities–which was absent. The good moral Japanese policeman is made to look like he is outsmarted by an amoral US cop. Tch tch! Friendship overshadows morals? What is evident is that Scott made an US movie in Japan, recreating a Japan seen through Hollywoodian stereotypic Japanese situations that is ridiculous to an Oriental standpoint. Even Hans Zimmer&#39;s music is unusually lackluster. In fact there is no department where the movie inspires–unless you love motorcycles.
It's risky making an action picture that breaks its violent stride to emphasize the difficulties of living up to preconceived ideas of masculinity. But it's that risk that makes Black Rain distinctive. By refusing to beat its Eastern and Western protagonists into comic-book pulp, the movie pays them, and the audience, a rare compliment.
It&#39;s part of the bushido code of conduct that the ancient samurai and the yakuza gangsters adhere to. During the days of the Japanese warlords and the samurai, a dishonorable act carried the punishment of severing one&#39;s own finger or part of. The idea was that a samurai that was missing part of a finger or multiple fingers wouldn&#39;t be able to wield his katana (samurai sword) as effectively. The Japanese word for the act is yubitsume. On August 6th and 9th, 1945, during World War II, the United States dropped atomic bombs on two Japanese cities. The first, on August 6th, was the western city of Hiroshima, which had been a major Japanese shipping port and industrial production site. The second bomb was dropped on another western city, Nagasaki, three days later when Emperor Hirohito refused to surrender. Following the devastation of those bombings, Hirohito ordered his country&#39;s surrender, ending the United States&#39; war with Japan.<br/><br/>Sugai&#39;s involvement in this chain of events is that he lived in one of those cities – which city is not revealed – as a boy and was there when the bomb was dropped. As he states &quot;I was 10 when the B-29 came. We were underground for three days. When we came up, the city was gone. Then the heat brought rain; black rain.&quot; What Sugai is suggesting is that the pollution from the atomic fallout had somehow turned the rain black. Sugai goes on to say that following the war American values were forced on to his people by the United States, who had agreed to aid in the rebuilding of Japanese society due to the destruction caused not only by the atomic bombings but also from the many other non-atomic bombings of other Japanese cities during the war in the Pacific. The United States became Japan&#39;s occupying force following the war and Japanese citizens like Sugai felt that their cultural and societal identity was slowly being stolen from them as a result of such policies. Sugai&#39;s ultimate plan is to flood the American economy with counterfeit money and reap the benefits of such a crime.
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