Anti-war films have a long and varied history in Japanese cinema history, with there being many different takes on this common topic across anime and live-action. With “The Blue Danube”, writer-director Akira Ikeda attempts to make his mark on this sub-genre of sorts. Devoid of any emotion or engaging characters, the film, along with its central themes, gets lost in its suffocating style.
“The Blue Danube” is screening as part of Japan Cuts
The film follows Ichiro Tsuyuki (Kou Maehara), a soldier living in a small town, fighting a war against an unknown enemy that resides across the river. He follows a mundane and repetitive routine that involves periodically shooting towards the enemy from 9am till 5pm, with a break for lunch, of course. However, things take a turn in Ichiro's life when he's reassigned to the town's marching band and begins to hear an alluring tune being played from across the river.
At the heart of “The Blue Danube” is an anti-war sentiment that rings loud and clear. We're frequently reminded of the fact that no one in the town has any idea what the enemy across the river is like or why they're fighting against them. The conflict, so far as we are told, has been going on for generations, and people have accepted the constant state of war the town finds itself in. Akira Ikeda's stance on the idiocy of ongoing conflict couldn't be made clearer, not in the least because many of the film's authoritative figures, notably the forgetful mayor, are portrayed as buffoons.
However, it's the nature of Ikeda's satirical approach towards his damming of war and authoritarianism where “The Blue Danube” falls apart. The film is essentially sequence after sequence of overly long jokes and excruciatingly dry humour. Rather than being riddled with a dry wit that pokes fun at an authoritarian society, the film is instead just frustrating in the way that the predictable and very repetitive jokes are drawn out. There are several lone instances of off-kilter humour that garner a chuckle, but numerous other reoccurring jokes outstay their welcome far too early. Your enjoyment of the humour will certainly depend on personal taste, but for me, at least, it didn't land.
The repetitive nature of the plot is also detrimental to the film's pacing. It becomes clear within the first twenty minutes that “The Blue Danube” will follow a set formula focused on the routine of its characters. Unfortunately, this structure, along with the extremely mundane dialogue and lack of any real urgency, means that even at just 105 minutes, the film is a real drag. It's no surprise where the limited plot is heading, so there's very little to keep you engaged consistently. This lack of any real activity, along with the frustratingly drawn-out jokes and intentionally lifeless performances, makes Akira Ikeda's effort a slog to get through.
Although a great-looking film, what with the Wes Anderson-esque symmetrically framed shots, “The Blue Danube” is a victim of its overwhelming style. While there is some substance to be found in Akira Ikeda's anti-war messaging, there's virtually nothing here to keep you invested in the plight of the barebones characters. I'm sure this lack of characterisation, feeling, and anything else even mildly stimulating is intentional, but unfortunately, it doesn't make for great viewing.
