What does it take to become the master of an art form? That’s the question at the heart of Lee Sang-il’s exquisite film Kokuho, which recounts the rise of young prodigy Kikuo Tachibana (played by Ryo Yoshizawa and Soya Kurokawa) in the world of kabuki.

Kikuo, the son of a Yakuza boss, has a talent for the art of traditional Japanese theatre, particularly the female roles played by men known as Onnagata. Acclaimed kabuki actor Hanjiro Hanai (Ken Watanabe) recognises this talent so, when Kikuo’s father is killed by a rival gang, he takes the young boy under his wing to train alongside his son Shunsuke (Ryusei Yokohama and Keitatsu Koshiyama). Together, the young boys hope to make something of themselves in the industry. But tradition reigns supreme in kabuki, where the art form is passed from father to son, so Kikuo is, and will always be seen as, an outsider and a usurper.

There’s a telling moment in the film when Kikuo says he has made a deal with the devil: He will give everything he has in exchange for being the best kabuki actor in all of Japan. And, boy, does that ring true as the story unfolds. His life and career are full of the loftiest heights and the lowest of lows, and viewers are drawn into his story as this happens, feeling the same level of euphoria, heartbreak, joy, and woe as Kikuo. It’s a heady experience, one that makes the film transcend into the extraordinary and ensures that it’s not just the story of an artist’s tireless quest for greatness, but something deeply human. We all understand what it means to be an outsider trying to fit in, and that’s what Kokuho is about at the end of the day.

On paper, Kokuho might seem a daunting prospect – it’s a three-hour movie about kabuki, after all. But the beauty and majesty of Lee Sang-il’s film is in its performances and stunning cinematography. Ryo Yoshizawa does an exquisite job leading the film as the adult Kikuo, lending the character a deep vulnerability that can be felt throughout the film. His eyes convey so much with so little; he doesn’t need to speak for the audience to understand the pain roiling inside his character. His performance is only added to by the groundwork laid by Soya Kurokawa, who plays Kikuo as a young boy and delivers an equally impressive performance.

Every show, costume, and sequence is handled with a delicate hand. And even those who have little to no knowledge of kabuki will be able to appreciate the work that has gone into every scene, and even follow the narratives of each performance, thanks to helpful explanations shown onscreen. It’s clear how each play tackles issues that mirror what the characters are experiencing off stage. Making the film this accessible is smart and will ensure audiences around the world will be able to connect to it, whether they’ve experienced kabuki or not. 

The only criticism that can be aimed at the film is how underdeveloped the female characters are. While Kokuho is shaped by Kikuo’s life and his friendship-turned-rivalry with Shunsuke, it is noticeable how little the women around them are given to work with. Love interests like geisha Fujikomo or Akiko, the daughter of a kabuki actor, serve little purpose other than to be loved and then left behind by Kikuo. It might help convey how much Kikuo is willing to sacrifice to become the best kabuki actor in all of Japan, but it seems a wasted opportunity for characters who could have been interesting in their own right.

Even so, Lee Sang-il has created a stunning piece of work in Kokuho. It’s enchanting and heartbreaking in equal measure, with magnificent performances that help elevate it into a masterpiece. The film may be long, but it keeps you enthralled from beginning to end, and that, in its own way, shows why Lee Sang-il should be considered a master of his art.

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Written by Team View of the Arts

Featured image courtesy of the Far East Film Festival

_{View of the Arts is an online publication dedicated to film, music, and the arts, with a strong focus on the Asian entertainment industry. As we continue to grow, we aim to deepen our coverage of Asian music while remaining committed to exploring and celebrating creativity across the global arts landscape.}