Daihachi Yoshida’s Teki Cometh (敵)
A stark portrayal of psychological decline at end of life.
Daihachi Yoshida’s Teki Cometh (敵) was the winner of the 2024 Tokyo International Film Festival Grand Prix, Best Director, and Best Actor for Kyozo Nagatsuka. It’s quite to easy to see why even as a beginner Japanese learner watching the non-subtitled Japanese original.
PHOTOGRAPHY
First I’ll start with the visual aspect of the film because it’s a key dimension to the feel and progression of the main character. The high contrast black and white is not film-stock-like, it most certainly feels manipulated and digital so while it has a certain immediate beauty and retro feel, it does not have the pure grandiosity of a vintage black and white print. The slightly heavy-handed contrast lends to the undertone of psychological unease of the main character well and even the most beautiful or funny moments of the film do not let the viewer relax or become lulled by the aesthetics. I think it was a good choice given the other elements of the film, however, as I’ll explain later, I think it could have also been effectively done a second way. Other reviewers have pointed out that early scenes such as the meticulously prepared meals would look too appealing in colour or even a balanced black tone, and I can again agree with the harmony of the effect with the plot development, however, I think even more contrast in the periods of the story could have been attained with changing or alternate use of film style. Nonetheless, it’s a beautifully shot movie with a coherent use of effect.
ACTING
I found all the actors completely believable regardless of the size of their part, but obviously the lead actor who commands 99% of the screen time is a standout. I had not seen him in a film previously so I don’t know particularly his personality, however I felt no point of doubt in him embodying the character. Moreover, having known many Japanese men of the same age, his portrayal of a 77 year old seemed entirely in keeping with my image. I suppose furthermore, there was a dimension to his acting that imbued a stunning personal closeness despite the stark visual style. Specifically as a man, I think we all can feel the many small emotions he portrays in the course of going through a day in the film- the micro disappointments, accidents, fears, and excitement from small things which perhaps uniquely to men, run parallel to a deep sense of duty to daily life. By building up this repertoire of small emotions early in the film through mundane daily activities we greatly associate with the man later on. If these had been skipped, or contrary, embelleshed in an overly overt Hollywood way, it would not have had the same gravitas as the way it was done. Superb on every level. This is “documentary” level acting in a fictional setting. About as good as it gets.
STORY
Briefly, the story follows the last period of the main character’s life, who previously was a highly respected professor in the field of French theatre. The film traces his downfall from distinguished gentleman to paranoid and frail. While this is a common theme in countless movies and novels, the way it is handled here is typically Japanese so it reflects well a truth of Japanese society, however it also works very well on a broader cultural basis by highlighting the true isolation of the last period leading up to our deaths.
The film follows a traditional four seasons structure, akin to Yasujiro Ozu or others, to mimic the decline of the character. As mentioned, the establishment of a normal, full life at the beginning goes a great distance to hooking us for the later 3 seasons. Various ex-students enter the picture as both helpers and temptation and slowly we see the main character struggling with self-control and maintaining his identity through waning years and finance. Again, these are easily relatable moments that consistently build our investment in the character.
The pivotal part near the middle of the film occurs when a strange and ominous message appears on his computer screen. "The enemy is coming."
The way this is depicted is perhaps a bit of a Japanese trope nowadays with a clearly fake computer screen format which breaks quite clearly with the cinema verite style of the first half. Accordingly it gives us a strong indication that not only the plot but the whole style of the movie is about to change.
In increasing frequency, odd visual and thematic things begin to happen. It’s jarring and hard to know whether they are hallucinations or a specific dramatic tool. In each case following the unexpected motif, the main actor awakes as if after a dream. Are they all dreams? Are they waking dreams? Are they just a montage of the many moments of life within a year condensed into minutes on screen? We’re left wondering as things progress.
Towards the end of the film, things exponentially become more fractured and frantic, both in scene style and in character’s actions and reactions. We begin to question the reality of his life entirely, whether he is progressing into Alzheimers or whether these are repressed memories or physical ghosts coming to haunt him. The enemy is not clear.
Finally, in the denouement there are literal explosions and the battle of life and death begins. The contrast in sound, for example, is extremely pronounced from the first chapter to the last. The quiet peacefulness of the first few minutes is completely upended and in the theatre I was in, ladies were screaming in fright.
MORAL APPLICATION
Afterwards I read various reviews to see how much I’d missed through the lack of English subtitles and was happy to see that I got 90% of it, although I felt that there was a stronger possibility of the arc referring to dementia than any of the other reviewers noted. Having seen people go through it, as well as the wonderful Father film with Anthony Hopkins, it seemed quite in keeping with people’s real experience. However, the director clearly states in one interview that it is not about dementia, conversely it’s about a willing embrace of paranoia and fantasy. I’m not sure if this is the more compelling explanation because to me the character seems quite content at the beginning of the film. It somewhat begs the question, other than the message on the screen, what is the psychological switch that causes him to recede into his mind entirely for solace. If that is the case, the argument for the film may be more about lost potential in taking meaningful acts late in life. Certainly there were numerous occasions in the film where he could have embraced opportunities that were presented, even so much as definitely affirming his negative wishes.
Whatever the root cause of the decline, it was hard to stop thinking of the many moments of the film for about 2 weeks afterwards. It is a powerful representation of how we will all need to grasp with the meaning of our last months, most likely alone.
CONCLUSION
Teki Cometh certainly deserves the accolades it has gained. Like other psycological thrillers, specifically Dancer in the Dark, it most effectively blends the mundane of life (accessed through excellent acting) then contrasts it with seemingly impossible, often otherworldly maelstroms of inescapable circumstances. While we don’t directly sympathize with the characters, the experience of seeing them go through it makes us reflect on those elements that we see within ourselves. It is a wholly effective film for this purpose. However, is this a film that you need to see more than once? I don’t think so. The experience is the point, and seeing it again would limit the surprise etc. So while it is undoubtedly successful on that level, I don’t put it into the canon of “great films” which can be watched countless times always revealing something new about the story and about life.
In this way, I’ll close by looping back to the thoughts on the cinematography and the use of those fantastic elements in the second half. I could envision an alternate version of this film that would become a classic, and that is one using more traditional elements in a much less forceful way. The reason I can see this working is simply because the main actor is so good. I think we could do without all the effects and leave it up to him to simply emote the feelings he has during each of the declining phases. Most directors or writers would not be able to write this, although someone like Jim Jarmusch or Ozu himself clearly can. I’d love to have seen the actor given carte blanche to simply conjure the meaning that was desired, using no specific dialogue, instruction or effects. Actually I have no doubt he could do it.
Perhaps you’ve seen live plays that accomplish this. Without the need for sets or pyrotechnics, the actors invigorate the space and create a direct energy link with the audience. Using colour or traditional toned black and white could have created perhaps an even subtler yet more deep lasting artwork out of the story.
AVAILABILITY
THE RATING
6/10 Absolute
9/10 Relative
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