It's nice to sometimes go into a movie completely unprepared for what it will be, and by Jove, I did not know anything about this before I sat to watch. To wit: the name 'The age of assassins' may suggest a yakuza flick, or a spy thriller, but in actuality it's a farcical romp that continually supplies a steady stream of outrageousness recalling the most abject silliness of Monty Python, The Muppets, or The Three Stooges. It's one thing to remark that the dialogue, scene writing, and characterizations in a script are ridiculous and exaggerated, toying playfully with genre tropes; it's another to begin watching and see an animated credits sequence straight out of Saturday morning cartoons, a major supporting character whose very name is a gag, and a lead actor leaning hard into the characterization of an incredibly nerdy, dopey goof who has secretive hidden depths. Every odd and end is bent toward either reinforcing the compelling underlying narrative, which actually is ripe for earnest storytelling, or gleefully furthering the absurdity layered on top. This does mean some tonal discrepancy at points, but even that is very deliberate, and the result is a tremendous joy well beyond what I ever could have supposed!
So we get dichotomies like finely executed stunts, effects, and action sequences, set against cheeky performances for the primary cast members that are highly animated and all but cartoonish. We're introduced to monstrous, villainous figures, and some genuinely disturbing imagery in reflection of their scheme, that are straight out of Eon Productions' James Bond franchise (both the lighter and darker varieties), but also pointedly curt editing that, in cutting to mundane imagery, slyly bolsters the humor. With sparing exception Sato Masaru's music is commonly light or even jaunty, accentuating the fun-loving core much like a few scantily-clad women and outright frivolity; on the other hand, the story carries a considerable body count. I recognize that Suzuki Seijun's 'Branded to kill' and Elio Petri's 'The tenth victim' are drawn as comparisons, and I quite agree with that assessment; I would further add 1967's 'Casino Royale' to that list, had it been more cohesive and cogently made. It's a peculiar and perhaps risky blend that filmmaker Okamoto Kihachi conjures with writers Ogawa Ei and Yamazaki Tadaaki, and I can understand how it may not appeal to all comers, but for my part, I had an absolute blast!
And still, for as much as the picture swings between moods, or maybe more appropriately between the two halves of the whole, nothing here is accidental or sloppy. Everything looks and sounds fantastic, and is very carefully calculated to meet the precise needs in adapting Tsuzuki Michio's novel - one part wild zest, and one part sincere thriller. From the big sequences, to the cast's performances, to details in the background, Okamoto's direction is wonderfully versatile, not to mention totally solid and reliable, in both maintaining a unified feel and singular vision, and navigating the shifting tone. The filming locations are terrific, and the sets lovely; Nishigaki Rokuro's cinematography is as sharp and mindful as that editing of Kuroiwa Yoshitami. Sato's music really is delightful, and the fundamental image and audio are crisp and vivid. The indicated stunts, effects, and action sequences are as superb and exciting as we would expect from any honest big-budget action flick. From the production design and art direction, to costume design, hair, and makeup, to props and weapons, all elements herein were crafted with marvelous detail. The acting is splendidly adept, dexterously maneuvering between the straightforward and serious vibes and the most jovial ones. Even those in the most unequivocal roles, like Amamoto Hideyo, give vibrant portrayals, let alone more prominent Sunazuka Hideo and Dan Reiko. It goes without saying though that Nakadai Tatsuya, starring as Shinji, has the most demands placed on him as the protagonist adopts a certain persona, and Nakadai's performance is so tight and entertaining that he is easily a magnetic top highlight of these ninety-nine minutes.
Above all, with flavorful scene writing, some rich characters, and a strong, engaging plot with many fabulous turns, the nimble writing achieves an unlikely balance that even some pure, star-studded modern action-comedies can't manage. I think the key here is that there was plentiful potential and existing value in 'The age of assassins' as both a straight action-thriller and an all-out spoof - the material is strong enough that it could have been one or the other. Whether we credit author Tsuzuki, the screenwriting team, or both, the combination was penned with such skill, intelligence, and care that the both aspects mesh together at least as well if not better than they would if it carried the same sensibilities as kindred fare of more recent years (which is to say, trying extra hard to be a seamless action-comedy right out of the gate). From that firm foundation the remainder is given all the greater an opportunity to flourish, and thus the direction, acting, and otherwise craftsmanship demonstrates the smart capabilities of all. I assumed from the outset that I would enjoy this feature, and still I'm so pleased with how fun and funny it is. Whether one has a specific impetus to watch or is just looking for something good, I think this holds up very well, and I'm happy to give 'The age of assassins' my high, enthusiastic recommendation!
