Introduction
Some spectator might know Koichi Sakamoto for his work on the long running Power Rangers franchise. As director, some will know him from directing a myriad of Kamen Rider and other Tokusatsu films. Yet, this time, he leaves the realm of masked riders behind to create an effects-driven jidai-geki that pits a ninja against a shark.
Review
One afternoon, Sayo (Julia Nagano), a pearl diver, discovers a decapitated body on the beach. At the town meeting, the body is quickly identified as Tomi, the diver. Just after the mayor (-) reminded the surrounding people to avoid the sea, his daughter Oyui (-) runs towards him to tell him that Kiyomaru (-) has disappeared. The mayor suspects that lord Koshiro Mizuchi (-) of the crimson devil clan is behind it.
Not much later, the mayor approaches Kotaro (Kohshu Hirano) from Ushiozaki to ask his help to free Okitsu village from the grasp of the crimson devil worshippers and the wrath of the Sea God.
Sakamoto’s narrative has an outrageously silly premise – pitting a ninja against a killer shark, yet somehow he makes it work and delivers a satisfying b-film experience. So what are the ingredients that make his narrative work so well? In our view, the performances and the visual composition.
The structure of the narrative, while not bad at all, is unable to give each twist and turn the emotional impact it aims to deliver. The sudden shifts in the emotional fabric can, due to rapid unfolding of the narrative and the energetic editing, feel a bit forced. Yet, even with these few misses, the spectator is still able to enjoy how the narrative unfolds and savour the ridiculous but quite satisfying finale.
Even though one should not expect Ninja Vs Shark to have any deep themes, Sakamoto still manages to touch upon the possible effects the impossible phallus can have on the male subject. Kotaro, as he is first introduced in the narrative, is a phallic presence and his belief of possessing it determines his logic. This belief, supported by his skill as ninja and his physical strength, is the cause of his crude ‘sexualized’ signifiers and his cruel acts of taking what he is owned. His phallic position, which attains a criminal flavour, is most clearly illustrated by his act of raping a woman to fulfill someone’s outstanding debt and the thirst for the female body that oozes from his signifiers. Of course, such phallic position, by virtue of being inherently criminal, creates enemies and grudges.
Some spectators might be surprised by the sudden shift in Kotaro’s way of speaking and acting. His phallic indulgence and opportunism quickly makes way for a different way of relating to the female other (i.e. Sayo). Why such change happens is, at first, a mystery, but Sakamoto succeeds in explaining his surprising subjective change in an acceptable way. Without spoiling too much, let us note that what instigates this change is his discovery of a shared traumatic event.
The phallic dimension rears its head again with respect to Sayo, a woman who after killing her violent father is considered cursed by the other villagers (Narra-note 1). Her father’s violence, which targeted her as well as her mother, reveals a subject that utilizes alcohol and violence to repair his phallic insufficiency. One reason that partially explains his inability to make peace with this lack is the fact that he is the brother of the mayor, that he radically stands in his shadow.
Despite a few shots in the composition feeling somewhat amateurish – mainly due to some changes in colour-grading and the moments of overexposure, Sakamoto actually delivers a very satisfying dynamic composition. What makes his composition ultimately so engaging is the way he combines energetic cutting and dynamism – fluid as well as shaky (Cine-note 1).
Sakamoto’s compositional energy and his reliance on dynamism is also instrumental in making the action-sequences enjoyable. Due to Sakamoto’s compositional choices, these sequences attain a sense of tension and drama that keeps the spectator entertained. His approach to framing action, furthermore, does service to the powerful action-choreographies (sound-note 1).
Some of the effects that decorate the action sequences, however, are a bit questionable (e.g. the blood spatter, … etc.). Yet, due to Sakamoto’s apt framing, the myriad of effects (e.g. blood, decapitations, … etc.) as well as the compositional attempt to make the killer shark’s presence feel believable remain serviceable at all times and do not hinder the overall experience.
The acting in the Ninja Vs Shark is quite good. Even though there are a few uneven moments to be noted and some emotional moments that feel forced, the actors generally succeed in infusing a pleasant amount of drama into their acts and signifiers. What ensures that the acting never enters the domain of eye-rolling silliness is Sakamoto’s energetic composition. With his energetic cutting and his reliance on shaky framing, he does not merely avoid deflating the drama of his narrative, but elegantly heightens the dramatic impact of the acts and signifiers.
Ninja Vs Shark is a pleasant B-film action experience. While Sakamoto is not able to make all the twists and turns in his narrative emotionally effective, these misses do not sabotage the spectator’s pleasure one bit. So, empty you head, sit back and enjoy this fun action-driven and quite ridiculous fantastical jidai-geki.
Notes
Narra-note 1: The framing of Sayo as cursed is merely an attempt by the mayor to safe the status of his family within the village and to safeguard the equilibrium in the small fishing society. She is, in other words, reduced to a vile mad object to be exploited by others to satisfy their frustrations and to explain the dire situation the village finds itself in.
Sound-note 1: The physical power that the action sequences emanate is also function of the great sound-design. The sounds give the action its weight and sense of impact.
Cine-note 1: Static moments are, generally, utilized as establishment shots.
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