bock_g
By many accounts, Kazuhiko Hasegawa's second feature film is a bold film, unusually flamboyant for its time (not by Kurosawa standards), and is a milestone in mainstream Japanese cinema. "The Man who stole the sun" was based on a story treatment written by an American screenwriter, Leonard Schrader (of "The Yakuza" fame and the brother of filmmaker Paul Schrader) who lived in Japan at the time. Hasegawa was hired to adapt this idea into a film based on his success from his first feature film, "The Youth Killer" which was hailed as a bold insight into the psyche of a young serial killer. It is interesting to note that Hasegawa was a Hiroshima native who suffered radiation poisoning when he was in his mother's womb as result of the dropping of the atomic bomb (which provides one of the pivotal themes in the film). The starring role of Makoto, the science teacher was given to the Japanese pop diva, Kenji Sawada (also known by his fans as "Julie")whose acting shines on par with his singing. This conscious casting decision (considering how Sawada was at the peak of his solo singing career) characterizes the flamboyant nature of this film. The role of the police officer, Yamashita who chases Makoto toe to toe throughout the film was given to the late Bunta Sugawara (who was known for playing gangster roles) is very over the top, but is a great contrast to the character of Makoto. The plot is quite straight forward a socially awkward science steals plutonium to build his own atomic bomb and threatens the government. Makoto's motivation to use his creation is fittingly unclear and bears some resemblance to a Travis Bickle (a character created by Paul Schrader). The pacing of the film (it is somewhat long, slightly above two and a half hours), somewhat reflects the motivation of Makoto character as the film progresses, the pacing becomes slower (Unusual, given the elaborate car chase shot on location in the middle of Tokyo was the film's climax). These unusual aesthetic choices makes this cult-classic very entertaining in spite of its shortcomings. The film was financially unsuccessful because of it's rather insensitive advertising tag line, (Direct translation "Julie is tough as an atomic bomb") but has gathered a cult following and is considered by some critics as one of the best mainstream Japanese films ever made. This film overall is definitely worth it's praise.
angelosnow
The Man Who Stole The Sun "Taiyo o nusunda otoko" (1979) The Man Who Stole the Sun is a title which invokes the myth of Prometheus, who stole fire from the Gods to give to man and was duly punished for it. The film revolves around a science teacher, Makato Kido (Kenji Sawada) who steals the secrets of the atom, constructing his own atomic bomb from stolen plutonium and holding Tokyo to ransom.Kido, the long haired, bubble gum chewing teacher who smokes too much and sleeps in class, goes by the terrorist codename "Nine". A symbolic reference to the eight nations who possess nuclear weapons (America, Soviet Union, England, France, China, India, Israel, South Africa), thus making him, potential nuclear threat number nine. Kido's flawed portrayal is as a man who desires the knowledge and power of an atomic bomb, yet upon attaining it, he is at a loss on what do with it. Subsequently, he calls up the vacuous, pretty radio hostess "Zero" (Kimiko Ikegami) and asks what others would demand if they had a nuclear bomb. The demand: that Rolling Stones would perform in Tokyo.The Rolling Stones is just one reference which contextually marks this late 1970s film. The other themes of the film: the Vietnam and Cold War, nuclear proliferation and the power of nations over the individual, reflects a social context where the autonomy of the individual was second to government agendas. By giving nuclear power to Kido, the film espouses a very liberal agenda of an individual (or public opinion) being able to assert his will on the government.Yet, as with many Japanese films, the fascination of the bomb – its raw destructive potential as well as its slow decaying effects – is a constant reminder of what the dangers of such power, placed in the wrong hands, can do. But who can blame them, being the only nation to experience the devastating effects of the atomic bomb? (Apart from South Australia of course, but according to the government, Aborigines don't count). "Prolonged exposure to radiation leads to hair loss, tissue decay and eventual death" Zero tells us. The death of Kido's cat through plutonium poisoning, hair falling out, bleeding gums, nausea, vomiting and finally culminating in Zero's ironic death as an indirect result of the bomb are constant reminders of this.Cinematically, Tokyo is captured beautifully through filters, portrayed as an almost surreal, blue urban landscape which infests the very streets, office hallways and the panoramic locations. The scenes in which Kido steals the plutonium is one of the highlights, reminiscent of the stills sequence of Chris Marker's La Jetée. Iran and South Korea could even take a few pointers from Kido's plutonium enrichment techniques – heating by home stove-oven.However, the film falls flat in the last half hour. The director had three chances to resolve the ending, but he forgoes all three. As a result, the film seems to protract itself needlessly. The last few minutes turns almost into a mockery of what the director had worked to build in the first one and a half hours, degenerating into a clichéd Hong Kong-esquire action/comedy car-chase and final violent showdown. It also shatters the audience's presumptions about Kido's character, as he desperately attempts to hold onto the bomb which he has no real use for.The film finally ends the only way it could be ended at this point – with Kido strolling down the street, atom bomb at his side. Like the bubble gum Kido seems to blow continuously, the atomic bomb (and the story) is finally stretched beyond its natural limits, leaving it with only one thing left to do: burst.
jmaruyama
Hasegawa Kazuhiko's "Taiyo O Nusunda Otoko" (AKA The Man Who Stole The Sun) is an odd film which seems a bit out-of-place as a late 1970's movie. Its counterculture, anti-authority/anti-establishment themes which may have been in good company with early 70's movies like "Serpico","Easy Rider" and "The Deer Hunter" seems somewhat late in coming for a film that was released in 1979. Sawada Kenji has made a career of playing edgy, hippie-like characters who are idealistic to a fault and who end up dying for a cause. His youthful rebel characters are almost as indelible as Matsuda Yusaku's similar characters in the movies. There are a lot of things that make this movie a bit hard to swallow in the credibility department. Can one seriously believe for one minute that Sawada's character Kido Masato, a high school Physics teacher, has the necessary skills and abilities to infiltrate a Japanese Nuclear plant, steal nuclear grade Plutonium, fashion a crude "dirty bomb" and escape capture numerous times from the Police? I also found the ending almost too ridiculous for words. How can Kido survive a major car crash and then a fall from the top of tall building? Sagawara Bunta's dedicated police inspector Yamashita is your atypical police movie standard but Sagawara's usual tough guy intensity is nice to see. I really wanted to see him capture Kido but then again the tone of the movie screamed out that the "villain" would win. I didn't really know what director Hasegawa was trying to get at. Are we supposed to support Sawada's character in his quest to blowup Tokyo? We weren't really given any reasons for his actions. My guess is that he just wanted to "stick it to the man" but this really isn't made very clear. Quite an odd and disturbing movie especially given what's happening in the world now.
bear-48
Kazuhiko Hasegawa is a great film director.Though I have been an enthusiastic fan of Kazuhiko Hasegawa's, in the beginning I've had no connection with him, and moreover, I am an ordinary office worker. One day I heard a sad news, "Kubrick is dead", which made me decide to establish Kazuhiko-Hasegawa's website. That's because I believe it is only Hasegawa that can make films like Kubrick's works. After a while, I got a connection with him through the cyberspace, and exchanged opinions each other with e-mails, which we called "e-sessions". One day I suddenly received his phone call. He just said to me, "I want to begin my project on your site"........ Thus I have built up the website to let people submit their scenarios for his new film.
