The Mole Song: Undercover Agent Reiji (土竜の唄 潜入捜査官 REIJI, Takashi Miike, 2013)

mole song under cover agent reiji poserYakuza aren’t supposed to be funny, are they? According to one particular lover of Lepidoptera, that’s all they ever need to be. Scripted by Kankuro Kudo and adapted from the manga by Noboru Takahashi, Takashi Miike’s The Mole Song: Undercover Agent Reiji (土竜の唄 潜入捜査官 REIJI, Mogura no Uta: Sennyu Sosakan Reiji) is the classic bad spy comedy in which a hapless beat cop is dragged out of his police box and into the field as a yakuza mole in the (rather ambitious) hope of ridding Japan of drugs. As might be assumed, Reiji’s quest does not quite go to plan but then in another sense it goes better than anyone might have hoped.

Reiji Kikukawa (Toma Ikuta) is, to put it bluntly, not the finest recruit the Japanese police force has ever received. He does, however, have a strong sense of justice even if it doesn’t quite tally with that laid down in law though his methods of application are sometimes questionable. A self-confessed “pervert” (but not a “twisted” one) Reiji is currently in trouble for pulling his gun on a store owner who was extracting sexual favours from high school girls he caught shop lifting (the accused is a city counsellor who has pulled a few strings to ask for Reiji’s badge). Seizing this opportunity, Reiji’s boss (Mitsuru Fukikoshi) has decided that he’s a perfect fit for a spell undercover in a local gang they suspect of colluding with Russian mafia to smuggle large amounts of MDMA into Japan.

Reiji hates drugs, but not as much as his new best buddy “Crazy Papillon” (Shinichi Tsutsumi) who is obsessed with butterflies and insists everything that happens around him be “funny”. Reiji, an idiot, is very funny indeed and so he instantly gets himself a leg up in the yakuza world whilst forming an unexpectedly genuine bond with his new buddy who also really hates drugs and only agreed to join this gang because they promised him they didn’t have anything to with them.

Sliding into his regular manga mode, Miike adopts his Crows Zero aesthetic but re-ups the camp as Reiji gets fired up on justice and takes down rooms full of punks powered only by righteousness and his giant yakuza hairdo. Like most yakuza movies, the emphasis is on the bonds between men and it is indeed the strange connection between Reiji and Papillon which takes centerstage as Miike milks the melodrama for all it’s worth.

Scripted by Kankuro Kudo (who previously worked with the director on the Zebra Man series), Reiji skews towards a slightly different breed of absurdity from Miike’s patented brand but retains the outrageous production design including the big hair, garish outfits, and carefully considered colour scheme. Mixing amusing semi-animated sequences with over the top action and the frequent reoccurrence of the “Mole Song”, Miike is in full-on sugar rush mode, barely pausing before moving on from one ridiculous set piece to the next.

Ridiculous set pieces are however the highlight of the film from Reiji’s early series of initiation tests to his attempts to win the affections of his lady love, Junna (Riisa Naka), and a lengthy sojourn at a mysterious yakuza ceremony which Reiji manages to completely derail through a series of misunderstandings. At 130 minutes however, it’s all wearing a bit thin even with the plot machinations suddenly kicking into gear two thirds of the way through. Nevertheless, there’s enough silly slapstick comedy and impressive design work at play to keep things interesting even if Reiji’s eventual triumph is all but guaranteed.


Screened as part of the Japan Foundation Touring Film Programme 2018.

Screening again:

  • Queen’s Film Theatre – 21 February 2018
  • Phoenix Leicester – 24 February 2018
  • Brewery Arts Centre – 16 March 2018
  • Broadway – 20 March 2018
  • Midlands Arts Centre – 27 March 2018
  • Showroom Cinema – 28 March 2018

Original trailer (English subtitles)

Pandora’s Box (パンドラの匣, Masanori Tominaga, 2009)

Pandora's BoxOsamu Dazai is one of the twentieth century’s literary giants. Beginning his career as a student before the war, Dazai found himself at a loss after the suicide of his idol Ryunosuke Akutagawa and descended into a spiral of hedonistic depression that was to mark the rest of his life culminating in his eventual drowning alongside his mistress Tomie in a shallow river in 1948. 2009 marked the centenary of his birth and so there were the usual tributes including a series of films inspired by his works. In this respect, Pandora’s Box (パンドラの匣, Pandora no Hako) is a slightly odd choice as it ranks among his minor, lesser known pieces but it is certainly much more upbeat than the nihilistic Fallen Angel or the fatalistic Villon’s Wife. Masanori Tominaga had made an impact with his debut film The Pavillion Salamandre and seemed to be a perfect fit for the quirkier, darkly comic Pandora’s Box but perhaps in the end it was too perfect a fit.

Inspired by events from Dazai’s own life, the story centres around a young man at the end of the second world war who has been suffering from tuberculosis for some time but kept quiet about it expecting to die soon and remove the burden on his family. However, when the war finally ends Risuke (Shota Sometani) inherits a new will to live and commits himself to a sanatorium to treat his lung condition. Whilst in the hospital he comes into contact with writers and poets as well as pretty nurses all the while proceeding with his plan to become a “new man” for this “new era”.

At once both hopeful and nihilistic, Pandora’s Box mixes gallows humour and denial in equal measure as the motley collection of inpatients waste their days away in this eccentric establishment which looks after them well enough but promises no real progress in terms of their health. Each of the patients receives a nickname when they enter the sanatorium so Risuke quickly becomes Hibari (sky lark). Tellingly, these nicknames overwrite real world personas – original names are recalled only at the time of death. Deaths do indeed occur but aside from these unhappy events, no one acknowledges the seriousness of their condition or the possibility that they may die from it, never leaving the hospital again. Physical pain and suffering is almost entirely absent though Risuke gives ample vent to his mental anguish through his letters to a fellow patient who has now been discharged back into the unseen chaos of the post-war world.

Indeed, the sanatorium might be a kind of idyll in this era of instability. Well fed and well cared for, the patients are far better off than many left adrift in the starving cities but the outside world rarely impinges on the isolated atmosphere of the sanatorium. Events change slightly when a friend of Risuke’s, Tsukushi (Yosuke Kubozuka), is discharged and a new nurse, Take (Mieko Kawakami), arrives stirring up various different emotions amongst the male patients in Risuke’s ward. Striking up a friendship with the younger nurse, Mabo (Riisa Naka), Risuke finds himself torn between two very different women.

Although its tone is necessarily one of depression and numbness, Pandora’s Box ends on an improbably upbeat note in which Risuke remarks that just like a climbing plant he may not know where he’s going, but it will certainly be a place of bright sunlight. A minor work filled with dark, ironic humour it’s perhaps unfair to expect the same kind of impact as Dazai’s more weighty efforts but Pandora’s Box is a lower budget affair which, although interesting enough in terms of direction, fails to make much of an impression outside of its obvious pedigree. The light jazzy score and deadbeat voice over add to the period feel whilst also lending an air of hopeless yet buoyant resignation to Risuke’s ongoing journey into the post-war world. This, in many ways, is what we’re here for – Risuke, unlike Dazai, has made a commitment to forge a way forward in which he plans to fight for the sun rather sink below the waves.


Original trailer (no subtitles)