Set in 1945 during the American occupation of Japan, Director Peter Weber’s [Girl with a Pearl Earring (2003)] Emperor tells the story of General Douglas MacArthur (Tommy Lee Jones) and Japanese culture specialist Bonner Fellers’ (Matthew Fox) investigation into Emperor Hirohito following the bombing of Pearl Harbour. Whilst interrogating Imperial staff and politicians, Fellers reminisces on the time he first arrived in Japan, fell in love with a school teacher (Eriko Hatsune) and explores how their relationship contributed to his love for the country.
Considering the fresh scenes of devastation and horror, Emperor noticeably avoids recounting the dramas of war-torn Japan and follows the subsequent evidence gathering process with Fellers, MacArthur and various officials. While shot in a golden hue, Emperor’s human angle feels slight and uninvolving due to politically focused talking head scenes that flatten the narrative.
The occasional wide-angle destruction shot serves as background to the tepid political drama but does little to emphasise the plight of Japan’s people, which would have given the film some welcome dramatic weight. Some of the cinematography is gorgeous and warming when acting as contrast to the primary political focus but this is still very much an agenda heavy, conversational piece. The story sometimes strays into flashbacks to Fellers’ romance in attempt to provide depth, but Fox is unconvincing in his role and Tommy Lee Jones lollops like a tranquilised pit bull in army garb (a part you would usually think he could play in his sleep).
Instead of effectively developing its protagonists, Emperor’s filler elements of romance are delivered with apathy and fail to stir, let alone engage. As a result the film feels like a fleeting account of a period that deserves a wider canvas and a greater human angle. This lack of urgency and drama is notable and the plot suffers from the same fact laden, studiousness that crippled Lincoln (2012), but without the Spielberg sheen. Where some greater characterisation and drama would have added muscle to an otherwise limp telling of an event, what we are left with is a fleeting war foray made watchable only by some stunning cinematography.
Daniel has awarded Emperor two Torches of Truth
