BLACK RAIN
A film review by Steve Miller
(this review is in the public domain)
Capsule: A streetwise superman from the NYPD loses a prisoner upon delivery in Japan. While tracking the prisoner down, he finds time to point out some basic flaws in Japanese society, break a number of laws, witness the death of his partner and reaffirm the fundamental superiority of western man.
Michael Douglas is a great actor, capable of range and depth. Unfortunately, he exhibits neither in Ridley Scott's deeply bigoted film, BLACK RAIN. Douglas and his detective partner from New York witness a killing of and by a Japanese man. They capture the killer, but are not allowed the "collar" for themselves. Instead, they are ordered to return him to Japan, where he is a wanted man.
Nick (Douglas) resents his orders, but complies, partly to avoid the scrutiny of the "suits," who are investigating him for theft. Upon arrival in Japan, Nick loses his prisoner to members of Japan's organized crime, disguised as local police. Understandably upset, he offers to help in the prisoner's recapture. The local police are cool, but courteous, and drag Nick and partner around as "observers." Unhappy with that limiting role, Nick bends, breaks and otherwise nullifies the rules under which his hosts expect him to behave.
A local detective, whom Nick calls "Mass," since he apparently cannot say (any more than I can spell) his real polysyllabic name, follows Nick, trying to keep him out of trouble, while the Japanese police attempt to do their jobs.
Further summation of the story would be spoiling, so I won't go on. The point, of course, is that Nick is a stranger in a strange land. As such he is naturally open to some culture shock. Being a headstrong cop, Nick responds by clinging to his own culture, his own ways and by refusing to consider local customs as options. The film thereby sets Nick up for a catharsis; some point must come when he confronts the inappropriateness of his New York bred methods when they are transplanted to another country. When Nick is forced to watch the murder of his New York partner, that moment has clearly come. Surely, he must search his soul, finally to take the advice Mass has given him, that he is "part of a group," and should "consider the Japanese way." Surely. Surely.... Nah... .
The Japanese way never gets a chance, even though this is Japan. Nick finally solves his problems (and some of those he creates for Mass) in a Rambo fashion; very American. When the climax came, and Nick refused to admit his errors, the film changed from interesting to maddening. He is never made to confront his own biases, or his own shortcomings. Instead, fate plays along with him, granting either victory or good excuses for failure (i.e. the local police let the bad guys get away).
Now, as anti-Japanese as this film is, it is nonetheless a stunning piece. Scott's vision of Japan is a mirror of his future city in BLADERUNNER. It is atmospheric, high-tech and pays its bills by the megawatt. Visually, this is great stuff. And, if one is fond of the street-smart-cop vs. The Great Big Machine kind of story, one might like BLACK RAIN. Not this one. If once, just *once*, it had seemed that Nick gained something of value by trying the Japanese way, I might feel different. But it didn't, so I don't.
BLACK RAIN is a brilliantly directed, visually gripping film, with a good story and some terrific action. Sad to say, those features will probably make it one of the highest grossing works of self indulgence and bigotry of the year. 4 out of 4 for execution, 2 out of 4 for artistic honesty. -- Steve Miller, New York Law School '92 (NO! '91! I go during the Summer now.) Big Electric Cat Public UNIX ..!cmcl2!hombre!dasys1!srmiller
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