The third film from writer-director Hiroshi Shôji, Tatsumi begins with the titular character (Yûya Endô) beating up a “scumbag” in his car. That person is his brother, and the fisherman is mad that he’s on heroin. This introduction speaks volumes to the kind of person Tatsumi is, as his real job is to dispose of bodies for the local Yakuza gangs. His daily routine gets thrown off when Kyoko (Nanami Kameda) wakes him up one day. She needs his help, as her little sister, Aoi (Kokoro Morita), was messed up by being stolen from by a gang.
While Aoi gets roughed up, Tatsumi is able to convince the leader to leave her be after that. But when getting ready to head home for the night, Tatsumi and Aoi witness the brutal murder of Kyoko at the hands of the utterly insane brothers Ryuji (Tomoyuki Kuramoto) and Takeshi (Ryô Matsumoto). Aoi vows revenge, and Tatsumi agrees to keep her safe on her path of death. Can two people really bring down the violent heads of a Yakuza gang?
Tatsumi is as grounded a view of gang life in Japan as possible. Shôji subtly ingrains the criminal activity as a given, so the only shocking acts come from the true outsider, Aoi. Every action and subsequent reaction is reasonable based on the character(s) involved. There is no moment that breaks the necessary suspension of disbelief, meaning each second feels as real as possible. While running a little shy of 2 hours, the screenplay maximizes its time, providing robust characters and an engaging, if unoriginal, plot. A scene in which Aoi discusses a necklace she took from Kyoko brilliantly gives both sisters depth. Additionally, this crime drama boasts a truly terrific ending that is the film’s highlight.
“…Tatsumi and Aoi witness the brutal murder of Kyoko at the hands of the utterly insane brothers Ryuji and Takeshi.”
Nothing is pretty in the film, not even the stylish night lighting. These characters are grungy, grimy, and adrift in a crime-fused world. The aesthetics capture the hopelessness of this lifestyle down to every last detail. Aoi never changes from the shirt she wears when her sister died, despite it being blood-stained through and through. Tatsumi’s car is a rundown piece of crap, but it never feels like a cheap plot device and makes sense for this character. The action is always exciting, but also filthy and full of debris, resulting in a dirty yet exciting experience.
Kuramoto and Matsumoto are terrifying as the antagonists. Each one is unhinged in a believable way, making them an imposing threat. Kameda is sweet and likable, making it easy to understand why Tatsumi would be willing to help Aoi to such a degree. Endô is quiet until his rage breaks through, causing some chilling moments. He sells every punch and stab perfectly, while also being tender and tough.
But the reigning champion of Tatsumi, acting-wise, is Morita. As Aoi, the thespian has to be defiant in a teenage rebellion way. Then she has to be shocked and grief-stricken, followed by pure rage. Next, Morita must convey both despair and determination simultaneously. Thankfully, as this is really Aoi’s story despite the title, the actor is more than capable. She is a spitfire of energy, charm, naivety, and intensity, and it all works. If this performance doesn’t make Morita a star in Japan, then their film industry is truly unjust.
Tatsumi is a stellar work of genius on every level. The direction is realistic and the pace taut. The characters are all very engaging, and every action they take seems reasonable based on what they know. Every actor is good, but Morita is a shining star who will become an international icon any day; yes, she’s that excellent here. Check this revenge tale out sooner rather than later, as it is what cinema is all about.
For more information, visit the Tatsumi Film Movement page.
"…Morita is a shining star..."
