Merry Christmas
Unattainability. No other word so clearly defines Merry Christmas, Mr. Lawrence. Unattainable pursuits for perfection, connection and forgiveness. An affecting and hauntingly beautiful experience about finding common ground even in the most hellish of circumstances, an undercurrent of revolutionary discourse in masculinity subversion bubbles furiously throughout the film deepening its already poignant lamentations about war's humanity-stripping effect and the self-imposed prisons that are obsession, honour and shame. Cultural divide and human nature encapsulate Nagisa Ōshima's film and one that he directs with the utmost care and attention, every shot is purposeful and framed with an immaculate beauty. It's relentlessly grim, constantly off-balance, periodically moving and continually striking thanks to Tōichirō Narushima's enchanting photography. There's a certain mystical quality to the performances of Bowie and Sakamoto both as arresting as each other, most likely a causality of their star power as musicians. However, it's the all-too-human reflections of Kitano and Conti that make this a true tearjerker with the duo sharing the film's final and most powerful moment, sometimes all it takes is a "Merry Christmas" to get the tears flowing. The real kicker for many is the film's utterly intoxicating musical score by Sakamoto; it stays with you long after viewing, conjuring up an atmosphere of regret, lost love and repressed heartbreak that we see in Yonoi's unrequited love for Celliers bloom. One of the most powerful pleas for tolerance ever committed to celluloid, Merry Christmas, Mr. Lawrence is one of the most captivating and mournful looks at the atrocities man commits to himself, so much is said without words, sometimes just emotions are enough. One that acquires depth and emotional scope the more you dwell on it, I should know, I've been thinking about this film since I first watched it two years ago and it's every bit a masterpiece now as it was back then.Was this review helpful to you?
