On a purely visual level, Black Rain draws immediate comparison to Ridley Scott's earlier Sci-Fi classic 'Blade Runner'. The almost claustrophobic industrial streets of Osaka surrounded by neon advertisement boards and the dark hue of the city lights are reminiscent of that. These damp, dark, unknown conditions that our protagonists find themselves in is the source of most of the films strength. They're strangers in a strange land, stripped of many of their policing abilities and stuck where their hard-edged procedures are no longer acceptable despite having to face criminals who are as ruthless as they come.
The film follows two cops Nick and Charlie who have to escort a member of the Japanese Mafia back to Japan and then work with the local authorities to track him down after he manages to escape. The cops are played by a stubborn Michael Douglas and a smooth Andy Garcia. Most important is that both actors are very charismatic and therefore have little trouble carrying the film with them. They manage to convey a variety of emotions whilst always convincing as tough cops. As the film progresses they realise that the Japanese police don't trust them and they fall in with honest cop Mas, whose law-abiding ways are at odds with Nick's beliefs.
This is where Scott's intelligence with the film comes to the fore as he turns it on its head. It appears to be a straight-forward, almost buddy-cop like film done seriously (I still think the Rush Hour series gained a lot from this film). It certainly contains a number of 80's action film clichés and is over-stylised to a degree. Yet it goes much deeper than that. It turns more into a study of the characters morality. Nick's questionable ethics, Charlie's laid-back approach and Mas' by the book method which is seen as the true way in Japan. The way these three characters bounce off of each other is where the films best moments are. Whether they argue or laugh or mourn, they're relationships feel genuine and so does the way in which they have to change in order to succeed.
I don't think the film succeeds to this degree in its other areas. The plot itself is far too clear-cut and by the numbers. So much so that if it wasn't for the strong central characters then I think the film could be easily forgotten. The Japanese culture is interesting and the way in which their criminal underworld works is interesting, yet we only get glimpses of these sides. At one point we see the Mafia meeting in a steel foundry, which is a unique setting for such a thing to happen, and it leads to them having dull conversations that musters up to very little. Same goes for Sato, the main antagonist. If it was intended to make him shadowy and intimidating then well done, but if he was meant to be interesting and layered then they failed.
Kate Capshaw puts in a good performance, showing she can act after her irritating role in 'Indiana Jones', as the nightclub worker who feeds Nick secrets about the Mafia. The problem is, even with suspended logic considering the type of film it is, I have trouble believing that she would know so much about them. How could a simple hostess from Chicago find out so much, especially when she tells Nick that the Americans are seen as ineffective? Her role simply seems too convenient considering how hard the film is trying to play this story straight.
Scott is in his element when it comes to how the film looks. He is a great visual story-teller and he lets the dark glow of Osaka guide us through the film. He manages to make the skyscrapers, industrial centres and stacked apartment blocks look simultaneously futuristic and decayed. Some of the neon and lighting can become overbearing, but I feel that was intentional in order to add to the oppressiveness of the location. The action sequences aren't anything out of the ordinary, but they can be effective. The climax takes place at what appears to be rice fields, which I can't say I've seen in a film before and it certainly adds something different.
Despite having some big issues with its plot and the logic behind it, I think Black Rain is an enjoyable enough film if you are willing to accept it as the strongly stylised piece that it is. When it focuses on the bond between the three protagonists then it is very entertaining, down to how straight the actors play it. Yet I never felt that involved with the film because the plot simply doesn't allow you the opportunity to be sucked in. The characters, visuals and the new environment are all exciting features, but the plot line and dialogue are flat because nothing remarkable is done with them. It was clear that at this point in time Scott was stuck doing films that he liked the concept of but was always unsure about how to make it all come together.
The film follows two cops Nick and Charlie who have to escort a member of the Japanese Mafia back to Japan and then work with the local authorities to track him down after he manages to escape. The cops are played by a stubborn Michael Douglas and a smooth Andy Garcia. Most important is that both actors are very charismatic and therefore have little trouble carrying the film with them. They manage to convey a variety of emotions whilst always convincing as tough cops. As the film progresses they realise that the Japanese police don't trust them and they fall in with honest cop Mas, whose law-abiding ways are at odds with Nick's beliefs.
This is where Scott's intelligence with the film comes to the fore as he turns it on its head. It appears to be a straight-forward, almost buddy-cop like film done seriously (I still think the Rush Hour series gained a lot from this film). It certainly contains a number of 80's action film clichés and is over-stylised to a degree. Yet it goes much deeper than that. It turns more into a study of the characters morality. Nick's questionable ethics, Charlie's laid-back approach and Mas' by the book method which is seen as the true way in Japan. The way these three characters bounce off of each other is where the films best moments are. Whether they argue or laugh or mourn, they're relationships feel genuine and so does the way in which they have to change in order to succeed.
I don't think the film succeeds to this degree in its other areas. The plot itself is far too clear-cut and by the numbers. So much so that if it wasn't for the strong central characters then I think the film could be easily forgotten. The Japanese culture is interesting and the way in which their criminal underworld works is interesting, yet we only get glimpses of these sides. At one point we see the Mafia meeting in a steel foundry, which is a unique setting for such a thing to happen, and it leads to them having dull conversations that musters up to very little. Same goes for Sato, the main antagonist. If it was intended to make him shadowy and intimidating then well done, but if he was meant to be interesting and layered then they failed.
Kate Capshaw puts in a good performance, showing she can act after her irritating role in 'Indiana Jones', as the nightclub worker who feeds Nick secrets about the Mafia. The problem is, even with suspended logic considering the type of film it is, I have trouble believing that she would know so much about them. How could a simple hostess from Chicago find out so much, especially when she tells Nick that the Americans are seen as ineffective? Her role simply seems too convenient considering how hard the film is trying to play this story straight.
Scott is in his element when it comes to how the film looks. He is a great visual story-teller and he lets the dark glow of Osaka guide us through the film. He manages to make the skyscrapers, industrial centres and stacked apartment blocks look simultaneously futuristic and decayed. Some of the neon and lighting can become overbearing, but I feel that was intentional in order to add to the oppressiveness of the location. The action sequences aren't anything out of the ordinary, but they can be effective. The climax takes place at what appears to be rice fields, which I can't say I've seen in a film before and it certainly adds something different.
Despite having some big issues with its plot and the logic behind it, I think Black Rain is an enjoyable enough film if you are willing to accept it as the strongly stylised piece that it is. When it focuses on the bond between the three protagonists then it is very entertaining, down to how straight the actors play it. Yet I never felt that involved with the film because the plot simply doesn't allow you the opportunity to be sucked in. The characters, visuals and the new environment are all exciting features, but the plot line and dialogue are flat because nothing remarkable is done with them. It was clear that at this point in time Scott was stuck doing films that he liked the concept of but was always unsure about how to make it all come together.