Yurusarezaru Mono (2013) is Lee Sang-Il’s gorgeous remake of Clint Eastwood’s 1992 revisionist Western Unforgiven, shifting the setting from the American Old West to Japan’s late 19th century northern frontier on the island of Hokkaido. Lee is able to draw out tremendous parallels between the two countries in that era – both recovering from a civil war, and expanding outwards into ‘unclaimed’ territory – and effectively retell the same basic story in a wholly new locale. Ken Watanabe (Tampopo, The Last Samurai) stars as Clint Eastwood’s equivalent: Jubei Kamata, aka “Jubei the Killer”, a former samurai on the side of the Shogunate in Japan’s civil war (1868-69). After the fall of the Shogunate to Imperial forces, Jubei is among those who fled to Japan’s northernmost island of Hokkaido (then called Ezo), where he now lives a life of utter destitution. He’s picked up by Akira Emoto’s Kingo (the role played by Morgan Freeman in the original, in some strikingly similar casting) to collect on a bounty placed on the Hotta brothers by the prostitutes they disfigured. Much of this draws on story beats from the original Unforgiven despite the drastic change in location and culture, but while Clint Eastwood’s final Western is critically acclaimed, I’ve never cared much for it. In Lee’s hands, however, the story comes alive and works in a way I never felt about the original.
What can I write about Shinichiro Watanabe’s seminal, acclaimed, hugely influential anime Cowboy Bebop that has not already been discussed, in greater detail and with more eloquence, by people before me? I came very late to Cowboy Bebop; I’ve mentioned before when reviewing anime that aside from a handful of exceptions, like Ghost in the Shell, I hadn’t watched much until a few years ago. Cowboy Bebop was one of the landmark series that I’d somehow missed out on, and it took me seventeen years – the series aired in Japan in 1998, but not until 2001 in the west – to correct that grave mistake. Fortunately, Cowboy Bebop: The Movie (2001) gives me an opportunity to discuss the series as a whole and the film in particular. Set between episodes 23 and 24 of the original 26 episode run, the film works as more of a “lost episode” than as a either a capstone to the series or a truly standalone adventure. I imagine a casual viewer could approach it without having watched the series, but that would leave them missing out on much of the world- and character-building that went into the show – and as the film is set largely on Mars, it misses out on much of the swashbuckling, spacefaring charm of the series.