Emotion in Japanese Film Fireworks

Emotion in Japanese Film Fireworks

"He shows no sign of joy or anger" -- phrase used to describe a samurai (quoted in Nitobe 94).

Bushido is a Japanese term for the samurai code of behavior that includes the ideal of self-control. Central to this ideal is the consideration that it is "unmanly" for a samurai to display his emotions on his face (Nitobe 94). This traditional aspect of behaviour penetrates deep into contemporary Japanese culture. By examining Fireworks, a Japanese film of the 1990s, we can observe how the idealized image of the samurai transplants itself into a contemporary gangster film (jakuzza-geki). Further, I will argue that Japanese ideal behavior (as descended from Bushido) implicitly calls for the cinematic presentation of emotion at a site other than the face. Using sequences from the film, I will explore how internalized emotion is presented in the form of graphic violence - allowing the main character, Nishi, to preserve his "samurai" dignity.

It may seem to a viewer lacking a crude knowledge of Japanese culture, that too much emphasis is placed on the face. However, many views purport that the Japanese "recognize the importance of the face perhaps better than people of any culture" (Matsumoto 19). Japanese norms differ from other cultures in that facial expressions are regulated in terms of status and honor and more often than not, expressions of emotion are neutralized (Matsumoto 44-66). This corresponds with the traditional ideal of Bushido, which dictates that a good samurai must refrain from displaying his emotions on his face.

The significance of the face in Japanese culture is important to considerations of Japanese film and film actors. Tellingly, an entire article about Takeshi Kita...

... middle of paper ...

...ollowed by a cut to a scene where three bodies lie on the ground in a pool of blood and Nishi stands holding a gun. The shot returns to Nishi's inexpressive face. In this sequence however, Nishi erupts into a violent reaction and attacks the yakuza at the headquarters.

Thus, the intercutting of images is used as a device by which to present Nishi's emotions without causing him to "lose face". Nishi further preserves his samurai dignity in the final sequence where he executes his last act of violence. This is the scene at the ocean where two gunshots are heard offscreen -- presumably the murder/suicide of Nishi and his wife. Significantly, we see Nishi's face neither before nor after this final act of violence. The character of Nishi is presented in Japanese ideal terms of masculinity in both life and death by careful adherence to the cultural codes of the face.