It doesn't make the strongest impression from the outset, or at least, it comes across rather curious. Flavorful as Inoue Takayuki's music is, like Hasegawa Kazuhiko's direction it says "TV movie" or even "cheeky exploitation flick" at least as much as "70s drama or thriller." The lead character of Makoto suggests a B-movie with his mannerisms, further borne out in Sawada Kenji's spirited performance and other odds and ends. Promising as the premise is, for too long the actual brainchild of Hasegawa and Leonard Schrader is generally interesting more than it is specifically compelling. And while the pacing isn't altogether bad, the plot development takes its good time, such that the first hour passes kind of unremarkably. Add an initial and lingering playful edge that suggests satire, and of everything that 'The man who stole the sun' could have been, one way or another it's not completely what I expected.
None of this is specifically a mark against the film per se, though some animal cruelty does nothing to help earn my favor, nor fleeting, unnecessary touches of homophobia. And nitpick as we may, it's well made, including the production design and art direction, cinematography and editing, props and costume design, hair and makeup, absolutely the stunts and effects, and even Hasegawa's direction. The cast do give capable performances, including not just Sawada but also Sugawara Bunta and Ikegami Kimiko; I like Inoue's score, and the other songs we hear on the soundtrack. Even as tidbits raise a skeptical eyebrow, I think the writing notably gains some strength once Ikegami's character Zero enters the narrative, adding another interesting angle with her gleeful fascination - or maybe it's that a broad sense of escalation in the course of events provides some needed vitality for the picture.
But then, even still, in a runtime of nearly two and one-half hours, it's not until we're within about the last hour that this starts to be earnestly thrilling, and emotionally investing. There's a pretty clean line of demarcation as to where the greatest strength lies in 'The man who stole the sun,' where it is tightest in both writing and execution, and where it seems to best meet its potential. It's not that the preceding length is unworthy, but as it seems evident where Hasegawa, Schrader, and all others most focused their energy, it seems fair to wonder why they didn't do so up to that point. I think this is very enjoyable and deserving on its own merits, and I also think it would be far more so if the entirety were as carefully considered as the back end tends to be. One could even argue that all the title really needed was to trim some excess so that the plot - action and dialogue, thrills and drama alike - and the feelings it invites, could be lighter on its feet, and more impactful all told.
When all is said and done I think this is very good, and anyone with an appreciation for the violent thrillers that proliferated in the 70s will surely find it to be a solid viewing experience well worth their while. I wish only that the whole might have been crafted as shrewdly as much of the latter half, for if it had then I would be more enthusiastic. Don't go out of your way for 'The man who stole the sun,' but so long as you're amenable to features that may slightly miss the mark, this is quite excellent overall and earns a fair recommendation.
