Director: Ridley Scott

Starring: Michael Douglas, Ken Takakura, Andi Garcia, Kate Capshaw

Primary genre: Neo-noir

Secondary genre: Action

Third genre: Thriller

Nominated for: Best sound editing, sound mixing

While Ridley Scott’s outputs can be bumpy storytelling wise, their visual panache has been consistent throughout a career spanning six (!) decades. One of the few directors who brings his A-game no matter the setting, era, genre or the quality of the screenplay, he commands effortlessly large scale and technically proficient blockbusters even if the material sometimes does not match his visual ambition.

After a string of commercial flops in the eighties, “Black Rain” saw the versatile Brit back on top form. The script by Craig Bolotin and Warren Lewis focuses on a shadow war between the Yakuza that starts in New York and extends all the way to Osaka. While they add all the 80s trademarks which you would have expected in a time when those buddy cop actedies (comedy and action) were tremendously popular, they take the proceedings more seriously brushing them with an emotional panache deprived of caricature characterization. Michael Douglas’ Nick Conklin is not a shiny beacon of law enforcement justice and precisely for this reason alone “Black Rain” works where other flicks have crashed and burned. Featuring front and center a flawed (yet capable) protagonist elevates the audience’s investment despite our occasional wince for his questionable actions (e.g., at one point, he unprovokedly abuses his suspect).

The inclusion of the vast cultural differences between Japan and the US make matters worse but provide nonetheless appropriate meat to what could have been, standard police proceedings by highlighting a fish out of water trope in a country where communication seems essential. In order for Conklin to solve his case, he needs to tame his bull-in-a-China-shop approach and embrace a highly hierarchical society paving the way for a wonderfully set up redemption arc. Facing Douglas dead on is Ken Takakura, a huge Japanese star back then and the film’s remarkable anchor point of stoicism against the foul mouthed and impulsive Conklin. The rocky but eventually blooming relationship between these two is the heart of the story welcoming character maturity and wisdom exchange among two radically different individuals all the while showcasing the transformative effect of friendship.

During the 80s, Hollywood discovered a profound fascination for all things Japanese (e.g., The Karate Kid (1984), American Ninja (1985), Above the Law (1988), Showdown in Little Tokyo (1991), Rising Sun (1993), The Hunted (1995)) that saw the (mis) representation of ninjas, samurais, Aikido, Yakuza and Karate. While most flicks were not bothered to understand appropriately those customs and traditions, “Black Rain” goes a step further; it explores this criminal conflict from the outsider perspective withholding stereotypical (or racist) judgment towards its cultural aspects like how these “tattooed” mobsters do operate under their own code of honor between killings and illegal dealings.

Under a solid two hour plus running time, the action is scarce despite being the most expensive film at the time. Scott and the screenwriters opt out instead to unfold the neo-noir mystery in slow fashion under the neon-lighted streets of Osaka and its huge steel mill business. Showcasing already a talent for striking (and cold hearted) visuals in “Blade Runner” (1982) and “Legend” (1985), Scott displays a gorgeous introductory version of Osaka for Western audiences and shooting in location helps him greatly too: from shady night clubs to steel mils and take away joints, it’s like a modern painting infused with movement, perfect for cinema. Jan de Bont’s (the director of “Speed” (1994) which was based on the Japanese flick The Bullet Train” (1975) starring Ken Takakura bearing the same bomb concept) cinematography is mesmerizing featuring front and center an 80’s coated and black shades wearing protagonist.

Douglas delivers one of his best and relatable performances avoiding the one-man army cliched cop caricatures oozing authenticity and palpable angst. Upcoming Andi Garcia is the likeable partner and perhaps the weakest aspect of the film serving as the catalyst for Nick’s redemption arc, yet their rather unique interactions by calling each other “babe” (no seriously) is quite interesting for such an occasional display of machoism (“I like to get kissed before I get fucked”). Kate Capshaw (the only female character here) makes a good impression as the savvy ex-pat although some additional exploration of her ambiguous morality in this side of the world would have been welcome.

With “Black Rain” one might have thought it to be the ultimate 80s cheese-fest prioritizing action and one-liners first and story second. Time being the best judge of things allows cinephiles to enjoy strong performances, a relatable and flawed hero and a respectable portrayal of Japanese culture. Its compelling take on the Yakuza under Hans Zimmer’s exciting score (a character of its own), makes this one of Scott’s very best. Douglas himself could not have said it better: “I loved it - I thought it rocked from top to bottom”. Well so did I.

+Brilliant, vibrant cinematography

+Great main hero

+Excellent redemption arc

+Locations!

+Neo-noir atmosphere well suited

+Zimmer’s score

+Respective portrayal of Japanese culture

-Garcia’s character is under-developed