a5c7b9f00b When an escort girl is found dead in the offices of a Japanese company in Los Angeles, detectives Web Smith and John Connor actliaison between the company's executives and the investigating cop Tom Graham.
At the offices of a Japanese corporation, during a party, a woman, who's evidently a professional mistress, is found dead, apparently after some rough sex. A police detective, Web Smith is called in to investigate but before getting there, he gets a call from someone who instructs him to pick up John Connor, a former police Captain and expert on Japanese affairs. When they arrive there Web thinks that everything is obvious but Connor tells him that there's a lot more going on.
I'm a firm believer that book and film should be kept apart, especially if you're going to rate a movie; but sometimes the comparison is unavoidable. Crichton's "Rising Sun" isn't my favorite of his books, particularly because it's more doomsayer than novel. I get it, Japan's corporate practices on the world stage are underhanded and malicious, but couldn't it be couched in a better yarn? What I really did like about the novel was elder detective guiding the younger through the mysterious Japanese culture. Sean Connery's a great fit for this character; I had him in mind while reading it.<br/><br/>But for the big screen version, this was all but stripped away in favor of a boiled-down mismatched cops flick. To that end, I do like the pairing of Connery and Snipes; and were they in a different movie, you'd have something. But their drama is in the service of a lifeless corporate whodunit. And there's a lot of talent peppered throughout the cast, and to see it wasted on something so dull is frustrating.<br/><br/>There's one good scene in which Snipes uses a rough neighborhood to elude some East Asian bad guys. But the scene ends, and it's back to drudgery.<br/><br/>5/10
Scenes of cowboys on horseback, and Cole Porter's "Don't Fence Me In"… reassuring cultural markers which quickly dissolvewe find ourselves in the steely 19990's in a Los Angeles that has been snaffled by the Japanese. The western and the music are mere karaoke images. Americans had better learn how to bow, because their masters are moving in.<br/><br/>"Rising Sun" is a sophisticated thriller which flips neatly between fear of the sinister Japanese (electronic surveillance, big business buyouts, Yakuza) and a deep understanding of, and reverence for, Japanese culture. Wesley Snipes plays Web Smith, a lieutenant in the LAPD assigned to investigate a murder on the Los Angeles premises of a Japanese corporation. He has Captain John Connor attached to him (Sean Connery), an older man who is believed to have 'gone native' and sold his soul to the Japanese.<br/><br/>At every turn, American short-sightedness is losing out to the Japanese hardball players. One of the film's morals is, if we don't like the way they are buying up our assets, we have no business selling them in the first place. Japanese strength comes from the social discipline and immense intellectual vigour of their way of life. "We may come from a fragmented MTV-rap-video culture," says Conner, "but they do not."<br/><br/>Conner has studied the eastern way and is respected by the Japanese for his grace and learning. He guides Web Smith along the path of enlightenment in the course of solving the murder mystery. They adopt the traditional sampai-kohai relationship, the tutelage of a wise elder from which a worthy young man learns.<br/><br/>In this story of cutting-edge video fakery, the film exploits images intelligently. We see reflections of Web and Jingo on the TV monitorthey analyse the 'ghost'. Connor effects a clever 'look-back' on the lab's video camera, hinting at hidden permutations in the characters' relationships. Time after time, we are led persuasively down a line of reasoning, only to find that it is a chimera. As Connor says, "When something looks too good to be true, then it's not true."<br/><br/>There are some weaknesses in the film's structure. 'The Weasel', the journalist tracking Web, is badly misconceived. His place in the story is negligible and his dramatic possibilities are abandoned almostsoonhe is introduced. The reliance of Web on his old 'brothers' to intimidate the Japanese pursuers is lame and patronising, with its 'boyz'n'the hood' silliness. To describe these 'rough neighbourhoods''America's last great advantage' is patent hogwash. The corrupt senator is the tired stock-in-trade of these thrillers, and fails to convince. The reaction of Morton's wife to the fax transmissions is utterly unrealistic and melodramatic. That two LAPD cops should beat up half a dozen Japanese thugs using karate is frankly insulting, even to Japanese thugs.<br/><br/>The performance of Sean Connery is very impressive. He plays Connor with the clear intelligence and the confidence in his own powers which such a man would surely possess. He alone understands both cultures, and therefore he alone can solve the riddle. Because Connery is convincing, the film is a success.
In the final analysis, Rising Sun is yet another book-to-movie conversion that loses something in the translation. Despite the always-welcome presence of Sean Connery, the film fails to satisfy completely. There are a few too many plot holes and logical errors. Rising Sun may be solidly-paced, but not all aspects of the production aresuccessful.
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