The Sun (Aleksandr Sokurov)

[pro-bassoonist]

Aleksandr Sokurov's The Sun (2005) has been set to be released on June 1. Nominated for Golden Bear at the Berlin International Film Festival. Courtesy of Kino Video.


The Sun


Strictly Film School:

Aleksandr Sokurov has always seemed to be particularly in his element with his dense and amorphous expositions of integrated, Eastern spirituality (A Humble Life, Dolce) and the commutation of collective history (Oriental Elegy, Russian Ark, so it comes as no suprise that the third installment of his historical tetralogy, The Sun - a film that incorporates both aspects of these recurring themes - is his most accomplished (to date) of the series. Rendering a painstainkingly detailed portrait, not of the biographical life of Hirohito (Issei Ogata), the (hu)man, but rather, of the culturally unquestioned institution of the divine Emperor of Japan, Sokurov’s vision eschews the conventional framework of illustrating the turmoil and decimation of the waning days of war in order to present a more challenging and illuminating portrait of a physically slight, pensive, and perhaps reluctant national ruler trapped in the eternal performance of traditional rituals and bound to the rigid social codes of his inherited role. From the opening sequence of the emperor impassively listening to his itinerary for the day over a private breakfast - including his exact hour for catching an afternoon nap - the film provides an image of the imprisoning rituals - and consuming weight - of assumed power. The selection of Richard Wagner's elegiac compositions (Wagner also composd the magnum opus operatic tetralogy, the Ring Cycle) seems especially suited to this twentieth century portait of götterdämmerung, chronicling the literal twilight of the sun god, as the defeated Japanese emperor transforms from deity to mere mortal after his official surrender to General Douglas MacArthur (Robert Dawson) and the American occupiers. However, even more than the actions of Hirohito himself, the film's incisive study of the cultural framework that underpins the source of the emperor's absolute power provides a particularly relevant context to Sokurov's expositions on the dynamics of power and (false) idolatry, most notably in the filmmaker's treatment of the mythification of a political leader that seems eerily resonant of contemporary American politics in which a destructive culture of unquestioned faith, intractable policies, isolationism, and evocation of divine rule serves to unwittingly precipitate the nation's own predestined failure and international marginalization.

Pro-B