Black Rain is an… interesting project and I have to say one that doesn’t so much go out with a bang but as a long deep sigh. Michael Douglas stars as Police Officer Nick Conklin of the NYPD whom along with his partner Charlie (played by Andy Garcia) witness an execution in a restaurant by a member of the Japanese Yakuza. They catch him and arrest him, before proceeding to extract him to Osaka, Japan. On the plane they unknowingly hand him over to his Yakuza comrades – all disguised as police officers and subsequently he escapes. Nick and Charlie then team up with the Japanese police to apprehend him and also stop a counterfeit scheme, set up by the crime lords, in the process.
Black Rain stands out as a cop thriller, which is more than what could be said for Somebody to Watch Over Me: so financially successful it was but a good film it ain’t. From following the Nick Conklin character in the story, who is unlikable, surly and insensitive throughout, to the portrayal of the Yakuza characters, written to act like one-note henchmen, revealing a film that hasn’t stood the test of time. With Scott’s usual style of spotlights as well as the streets of Osaka filmed like it’s the set from Blade Runner, you also have a film that is riddled with cliches throughout. A certain character meets an particularly shocking end about which there will be no spoilers here but when it happened, it bordered on the point of absurdity.
Watching a film like this feels like I extracted it from a time capsule. Everything feels reminiscent of the decade it’s from, huge hair, aviator shades, dark rooms with smoke etc but nothing of the substance this film should have had to break the mould and ultimately break new ground. It’s hard for the film to rise above it all with a script that relies heavily on cliché and resorts to characters either screaming at each other or resorting to a denouement towards the end that feels like it’s drawing to a conclusion that caters too much to the Western audience this film was clearly aiming for. That said, there are some cool fight sequences on display, (although I do wish Jackie Chan stayed on this project to possibly choreograph even better fight sequences), and there is a supporting performance from the late Ken Takakura, playing the detective assigned to work with Conklin who gives the role integrity and was truly a great actor.
But the truth is, that this is one big case where Scott’s visual style has way too much focus upon the film and really should have taken a step back instead for more confident direction and a stronger script that’s more focused on creating more three-dimensional characters and less clichés. As a cop thriller goes from Scott, it certainly stands out more than Somebody to Watch Over Me did, but to its detriment the elements that makes it stand out, don’t give the film critical praise but signs of non-plausibility and gaps in logic that can border on the ridiculous. It could have been so much better, especially with Michael Douglas – who is normally a charismatic leading actor and to take more advantage of its premise and location, but as it is, it’s a clichéd, often ridiculous product of the decade that doesn’t rank with Scott’s best work.
2 and a half/ 5
Filmlife 