"Pale Flower" Review

“Pale Flower” is one of the darkest film noirs I have seen-both literally and figuratively. It oozes with atmosphere and shows a view of Japan cinema that I have never seen before. Muraki is one of the coolest anti-heroes I have seen this side of Jef Costello from “Le Samurai“, only he uses his coolness as a mask to cover his sociopathic views of life. He is a sad figure; just released from prison on a three year sentence for murdering a man for his mob, he immediately goes back to his own stomping grounds where he goes to gamble what money he has. At one of these games, he meets the gorgeous Saeko (Mariko Kaga), a thrill junky that enjoys high stakes, whether it be in a game or real life.

The story is about a man that lives for his gang, and his growing fondness towards a girl. Muraki (played wonderfully reserved by Ryo Ikebe) knows, or rather thinks that there is no going back, yet he can’t deny his attractions for Saeko, who, the longer she stays around him, the more dangerous being involved with his lifestyle will become for her.

A tough customer. Make no mistake.

The scenes are lit fantastically, at times we don’t know where the characters are on the screen; they go from one light source into the darkness and show up farther away at another. One scene that has Muraki trying to hunt down an assassin is a haunting mix of barely lit allies and two pairs of footsteps stomping franticly on the damp pavement. Sound is key in this movie, as at times, we can’t even see entirely what is going on during the frequently dark shots. The sound of footsteps are prominent throughout as Muraki walks through the various dark allies and buildings that has encompassed his life.

The cuts are jarring at times, with director Masahiro Shinoda undoubtedly influenced from the French New Wave. He films “Pale Flower” on actual streets in Japan. There are scenes where characters talk in markets and subways around huge crowds of people.

There is a great scene that involves the two racing on the city streets at the dead of night with a random driver at speeds over 100 miles per hour. If it was done by studio conventions at the time, it would be completely different and less memorable. There is no music, only the screeching of tires and the hard wind and the sound of the overworked engine. It abruptly ends when the other driver stops unexpectedly, gets out of the car-and hugs Saeko. Both are laughing historically. It was nothing more than a thrill. Muraki only looks on. It is harrowing.

Alone in a city of millions.

Note: From here on I will be discussing plot points. Significant spoilers follow. If you are interested in the movie, I recommend going and watching it. I give it my highest recommendation. Right now it is available on netflix instant. Come back after watching for my thoughts on the film itself.

Why is so much attention given to Yoh, the man who tried to kill Muraki? He is a known junkie and “bad seed”, yet after his attempt to kill Muraki in the middle of the film, he is never seen again. I think he represents an even darker path, a darker lifestyle than Muraki. Staying in the very back of the game room, he represents, and literally is, for Saeko, what is at the end of the dark path in this underground lifestyle. She is in love with the dangers of the world and Muraki sees this in her, which is why he asks her to come with her to witness the assassination he has decided to do for the mob. 



In a lot of Japanese cinema, there seems to be a strong code of honor, be it a tale set in Feudal or modern times. This gangster tale is no different. Muraki can’t escape his fate because I believe he thinks he can not. He has made a commitment to his mob and can not, will not leave it. He decides to kill the man because that’s what he, as a soldier to the mob, is there to do.

Who is this girl?

Before the climax, he and Saeko share a brief conversation together that beautifully expresses their feelings. And they give each other a long stare before Muraki walks away to his fate. It is haunting. For the assassination, I will only say that, again, it is masterfully done, with orchestral music being the only sound to accompany the startling images. 
I think Muraki wanted to show Saeko the murder to show her the limits of thrill seeking. It was his own form of the “startled straight” program.

At the end, Muraki is in prison, two years later. Who knows how long he has to serve this time? An underling from his gang newly arrives and talks to him about Saeko’s fate and hints at a surprising revelation that she might have been hiding her identity-until Muraki ends the conversation when he is called on by guards to return to his cell. He does not press for more information.

Ships passing in the night.

I don’t think it really does matter who Saeko is. As Muraki says at the end, she’s dead, it doesn’t matter. The movie is about Muraki’s relationship with Saeko, not Saeko and Yoh’s or anyone else’s. The point isn’t about who Saeko was, it who she was to Muraki, which was a potential lover, someone he could have cared for. Instead of going the route he did and killing another person for the mob, he could’ve left with her and be happy, which, because he didn’t, her fate was sealed and they will never be together, which makes the ending even more sad. I feel bad for Muraki. His view of life is depressing and the one woman that might have shown him otherwise came too late in his life. All he knows is the mob. It’s easier for him to kill than to love someone.  It is always easier to destroy things than to nourish them; especially our own lives.

Rating: 4/4