“The world will always be corrupt”, the cynical brother of the angry young man at the centre of Nobuhiro Yamashita’s Hard-Core (ハード・コア) advises him, “you just have to work around it”. Unfortunately, Ukon (Takayuki Yamada) just wants to do “the right thing”, but it is constantly unsure of the best way to do it while remaining resentful and conflicted in his conviction that the world has already rejected him. Yamashita has made a career out of chronicling the struggles of disenfranchised young men but Ukon and his pals are less genial slackers than potentially dangerous idealists looking for a way back to a simpler time in which the world was not quite so rotten.
An opening bar scene in which Ukon gets slowly drunk and then lays into a rowdy bunch of guys bothering a middle-aged woman (Takako Matsu) just trying to enjoy a drink showcases his propensity to abruptly lose his temper and fall into a self destructive cycle while also subtly pointing out his entitlement issues in his taking the guy to task by praising himself for leaving the lady alone while he presumably had exactly the same desire not to. In any case, after getting banned from the bar, he ends up joining an ultranationalist political cell, the Crimson Hearts, which aims to teach the youth of Japan to re-embrace its traditional culture. In order to facilitate his goals, the elderly and eccentric leader, Kaneshiro (Kubikukuri Takuzo), has enlisted Ukon, along with a friend, Ushiyama (Yoshiyoshi Arakawa) who is almost entirely mute, to dig out a mysterious cavern where he is convinced there is buried Edo-era treasure.
It’s easy to see why Ukon might fall for the rather insane ramblings of Kaneshiro. They reinforce his sense of moral decline while giving him a banner to follow and a place to belong. His loyalty to Kaneshiro is as absolute as a retainer’s to his lord, though he is perhaps conflicted in his commitment to the core ideology even as he sees obvious merit in wanting to reclaim something of the old Japan. Meanwhile, his relationship with his family appears strained. His younger brother Sakon (Takeru Satoh) has become a cynical salaryman out for nothing other than greed and self interest, staring into his own empty eyes in the reflection of the full glass panelling of his high rise office as he has meaningless sex with anonymous office ladies. Ukon just wants to do the right thing, but Sakon wants to make the smart choice and doesn’t particularly care about the wider implications of his choices.
Meanwhile, Ukon is fiercely loyal to his friends and fellow outsiders in solidarity with all those who feel the world will never be willing to accept them. Ushiyama, a man laid low by familial expectation and societal pressure, lives in an abandoned factory where he has made “friends” with a broken robot that Ukon manages to repair and names “Robo-o”. Believing that Robo-o is just like them in that he would be ostracised if people discovered his true nature, Ukon and Ushiyama set about disguising him and even get him in on their gold hunting gig (where he gets paid!) at which he proves adept considering his considerable technical superiority. Ukon’s first instinct is to protect his friend, while Sakon’s is how best to exploit him.
Nevertheless, events at the Crimson Hearts begin to escalate as unpleasant underling Mizunuma (Suon Kan) considers taking the battle to the next stage to “overthrow the corrupt totalitarianism masquerading as democracy” through actions others will regard as terrorist. Meanwhile, Ukon has also begun to fall for Mizunuma’s damaged daughter Taeko (Kei Ishibashi) whom he met by chance after being inappropriately charged with spying on Mizunuma’s new girlfriend to make sure she wasn’t sleeping around (as women do, according to Mizunuma). Ukon, as the first scene implied, is not in favour of all this obvious misogyny but can only find the strength for passive resistance. What he chooses, in the end, is his friends and his precious group of outsiders, albeit with his hopes pinned on his cynical brother and the illusionary lustre of historical treasure. The power of friendship eventually enables even Robo-o to break his programming, though it’s Sakon’s cynicism that, in one sense at least, seems to triumph. Yamashita takes his troubled young heroes on a rocky, noirish path through the “rotten” world which they are increasingly convinced holds no place for them but finally finds hope in human compassion even if that compassion may be the long buried treasure of an archaic civilisation.
Original trailer (English subtitles)