Kurosawa begins the film with an elaborate wedding that serves two purposes: first, it introduces the characters and their status in the Corporation; second, it explains a past crime and every major character’s alleged involvement. This is done by a chorus of reporters; in SCANDAL, Kurosawa decried journalism as a corrupt institution but here, the writers are after the truth and newspapers are the ultimate weapon to fight Corporate Greed. The wedding culminates with a huge cake in the shape a building with a black rose like an accusation, inserted in a window on the seventh floor. The businessmen gasp and sweat profusely, as all becomes quiet as the grave because this is a representation of the past crime, a confectionary accusation.
The story is a bleak parable as Nishi rejects his own nature and becomes a weapon of mass destruction, his fuse ignited by an unquenchable fire. He has married the Vice President’s daughter under an assumed identity just to get inside the organization and murder those responsible for his father’s suicide. He has planned this for five years, willing to sacrifice innocents to see the guilty punished. Nishi is lost in selfishness, convinced that the means justify the ends. He marries the crippled Yoshiko but she and her brother do not share their father’s guilty burden and they become collateral damage. Nishi uses everyone (including his best friend whose identity he traded) for his own purpose: he kidnaps, tortures, steals, and becomes the very thing he despises; the abyss not only peers into him…it devours his soul.
Kurosawa depicts Nishi’s penultimate failure off-screen in bloodstained twisted steel and this narrative blunt force trauma hammers the audience with existential dread. Though the VP loses his son and daughter, he gains a promotion as Big Business continues to sleep well with politics. Alas poor Nishi, I knew him Itakura!
Final Grade: (A)
