Kingdom (2019)
Japanese title: キングダム(Kingudamu)
Translation: Kingdom
Starring: Kento Yamazaki, Ryô Yoshizawa,
Masami Nagasawa, Kanna Hashimoto, Masahiro Takashima, Tak Sakaguchi, Kanata
Hongô, Shinnosuke Mitsushima, Shin'nosuke Abe, Motoki Fukami, Naomasa Musaka,
Wataru Ichinose
Director: Shinsuke Sato
Action Directors: Yuji Shimomura,
Koji Kawamoto
Kingdom is a particularly interesting film
in that it’s a Japanese movie about Chinese history. Although it’s not unheard
of for one country to make movie about the history of another, in a
closed-culture nation like Japan—where Japanese citizens born of foreigners
like Koreans and Chinese aren’t considered real Japanese by many--it feels a
little odd. Japan did celebrate and absorb much Chinese culture back in the
Tang Dynasty (A.D. 618 – 906) and I wonder if there has always been a place in
Japanese imagination for Chinese culture and history.
There have been a handful of Japanese movies about
Chinese history and folklore over the decades. The 1950s saw Japanese
adaptations of Chinese legends and literature like Madame White Snake (1956)
and Son Goku (1959), in addition the Shaw Brothers co-production Princess
Yang Kwei-Fei (1955), about one of the “Four Beauties” of Chinese history.
The 1980s saw the epic production of The Silk Road (1988), which is set
in Western China during the Han Dynasty. The Warring States Era/Qin Dynasty
(475-207 B.C.) had already been depicted in the 1962 film Shin no Shikoutei.
In 2019, the live-action adaptation of the manga Kingdom represented
another attempt for Japan to tell Chinese history.
The film can best be summed up as Shi
Huangdi: Year One. It tells the story of the young King of Qin, Ying Zheng
(Kamen Rider veteran Ryô Yoshizawa), who was the previous king's elder
son, albeit with a concubine (in his case, a dancer). This doesn't sit well
with his younger half-brother, Cheng Jiao (Kanata Hongô, of the live-action Full
Metal Alchemist films), who's the son of royalty. Yeah, Cheng Jiao is very
much the arrogant “peasants don’t have the right to breathe the same air as me”
type, and he’ll be damned if he lets a half-caste son of a vulgar dancer rule
the Kingdom of Qin.
The film is told from the POV of Li Xin (Kento
Yamazaki, of Crazy Samurai Musashi and “Alice in Borderland”), an actual
historical figure. Li Xin was one of Ying Zheng’s generals who fought by his
side during the Warring States Era up until Ying Zheng unified China under the
Qin Dynasty, becoming China’s first Emperor (Shi Huangdi, or Qin Shi Huang).
According to the manga, Xin was a slave boy who taught himself swordplay,
dreaming of one day becoming a great general. His fellow slave and blood
brother, Piao (also played by Ryô Yoshizawa), is taken to the palace to be Ying
Zheng's shadow. When Piao is killed during the coup d’état, Xin joins
Ying Zheng on a quest to not only avenge his best friend, but to take his place
among the great military men of China.
Despite the support that Ying Zheng has from his
chancellor Chang Wen Jun (Masahiro Takashima, of Godzilla vs. Mechagodzilla
II) and a handful of retainers (not to mention a young lady in an owl
costume named He Liao Diao), that isn’t nearly enough to get into the
heavily-fortified palace and depose Cheng Jiao. We’re talking a ginormous
building with multiple walled-off patios, each of which is filled to the brim
with soldiers. Ying Zheng has a second chancellor who’s stationed in a
neighboring kingdom with an even bigger army than that of his half-brother, but
he’s not sure whose side the man is on at that moment. So, instead of risking
it, he does something even more daring: he goes into the mountains and asks the
Mountain People for their assistance. The mountain people were former allies of
the Qin Kingdom, although at some point in the past two centuries, one of the
Qin kings decided that their services were no longer necessary and turned on
them. Can Ying Zheng convince the Mountain Queen to join forces with him? Will
that be enough to make a stand against the superior forces of Cheng Jiao?
It is interesting to see a Japanese take on Chinese
history. Knowing that this was based on a manga and some of the excesses in
both that and anime, I was worried that Kingdom would come off looking a
lot like Dynasty Warriors, rather than, say, Red Cliff.
Thankfully, that doesn’t really come to pass in this movie, at least not to the point of distraction. There is the girl
dressed up as an owl and some of the costumes, notably the one worn by General
Wang Qi, have that anime feel to it. For example, the Mountain Tribe chieftain wears a suit of armor that looks more at home in a Greek mythology film. And the super-exaggerated action beats
only really show up briefly at the very end—you know, the type where one guy
will twirl his guan dao (which technically hadn’t even been invented
yet) and a dozen guys will fly up into the air.
Speaking of which, much of the swordplay looks more
like kenjutsu than wushu, the trade-off for
having Japanese people make the film. The action was staged by Yuji Shimomura (Versus) and
Koji Kawamoto (John Wick 4). Much of the action involves sword
fighting, complemented by wire-assisted jumps (especially from the
awesomely-crazy Mountain warriors) and lots of people getting knocked back
dozens of feet. I’m disappointed that more wasn’t made of the dagger-axes, a
common cavalry weapon during that period of Chinese history. Red Cliff
made good use of those weapons in some of its battle sequences, but here they
act mainly as set dressing. There is a neat, exaggerated fight between Li Xin and an assassin who fights with axes, a blowgun, and a bunch of leather straps covered with sharp metal coins, set in a bamboo forest.
Japanese martial arts legend Tak Sakaguchi shows up as
the general-turned-bodyguard Zuo Ci, who fights with a nigh-invincible
"drunken samurai" style (at least that's how it looked). His
one-on-one against Li Xin makes up what is essentially the more “personal”
fight amidst the climatic siege of the Qin palace. Masami Nagasawa (Shin
Ultraman; Shin Kamen Rider) kicks butt as the Mountain Queen Yang Duanhe, wielding
two-fisted scimitars with great aplomb. There is one bizarre moment in the
action, in the form of the Court Executioner, a gigantic fellow who is built
like the Hulk, but those facial scars makes one think of The Thing (of the
Fantastic Four). I’m guessing his inclusion was either related to the success
of the MCU or the popularity of 300 and some of the quirky characters in
that film. But it was an unnecessary inclusion.
My main problem is lead actor Kento Yamazaki, who
subscribes too much to the Yelling!!! school of acting. His overacting is a bit
too much, especially in the first third. The rest of the actors aquit
themselves well to this sort of movie, but Yamazaki just irritated me to no
end. A couple of anime screams is fine, but too many and I wish that he’d just
get his neck slit early on. In the end, it would be sort of amusing to watch
this as part of a trilogy alongside Zhang Yimou’s Hero and Chen Kaige’s The
Emperor and the Assassin, to see the evolution of the Shi Huangdi personage
from idealistic king to necessary butcher to paranoid mass murderer.
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