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Revisiting a classic: Kiyoshi Kurosawa’s “Serpent’s Path” gets a professional makeover
A second chance at storytelling
In the world of cinema, few directors get the opportunity to revisit their own work. Alfred Hitchcock famously did it with “The Man Who Knew Too Much,” transforming his 1934 thriller into a polished 1956 masterpiece. Similarly, Kiyoshi Kurosawa has taken another shot at his 1998 thriller, “Serpent’s Path,” delivering a refined and professional update that showcases his growth as a filmmaker.
The allure of remaking “Serpent’s Path”
The original “Serpent’s Path” was a chilling revenge tale, filled with psychological twists and turns. While it was never considered a major work, Kurosawa’s decision to remake it seems driven by a desire to explore new creative avenues. This time, he co-writes the script, adding fresh layers to the narrative and relocating the action from Japan to France. This shift not only invigorates the story but also aligns it more closely with Kurosawa’s sensibilities.
A gripping opening
The film kicks off with a kidnapping, immediately setting the tone for the intense drama that follows. We meet Albert, a jittery Frenchman played by Damien Bonnard, and Sayoko, a composed Japanese psychiatrist portrayed by Kô Shibasaki. Their contrasting personalities are evident as they abduct Laval, a drab-suited accountant played by Mathieu Amalric. This opening scene, executed with precision and minimal bloodshed, establishes the film’s “action first, explanation later” approach.
Unraveling the mystery
Once Laval regains consciousness, chained in a grimy warehouse, the plot begins to unfold. Albert shows him grainy video footage of his late daughter, who was abducted and murdered in a child-trafficking conspiracy linked to Laval’s employer, Minard. This backstory, while grisly, provides context for Albert’s frantic energy. However, the reliability of the captives’ testimonies remains questionable, keeping the audience guessing about the true nature of the conspiracy.
The enigmatic Sayoko
Sayoko’s motives in Albert’s revenge mission are the most puzzling aspect of the film. Her relationship with Albert becomes increasingly ambiguous as the story progresses. Cinematographer Alexis Kavyrchine’s choice to frame much of the action in wide shots adds to the sense of mystery, making close-ups a rare and valuable commodity.
Is Sayoko orchestrating this revenge as a form of extreme therapy for Albert? An intriguing subplot involving her treatment of Yoshimura, a depressive immigrant played by Hidetoshi Nishijima, adds more questions than answers. Shibasaki’s poker-faced performance keeps the audience engaged, as her character oscillates between calm efficiency and a potentially irrational core.
The devil is in the details
While the narrative of “Serpent’s Path” is filled with unpredictable twists, the film’s true charm lies in its eccentric details. The rising body count is handled with a steady, unexcitable pace, and Albert’s repetitive video show-and-tell act becomes increasingly absurd. Kurosawa and Kavyrchine’s camera work, particularly the scenes observing a living-room Roomba, adds a banal yet menacing touch to the film.
These are the nuances that a filmmaker can afford to prioritize when revisiting a story they’ve already told. “Serpent’s Path” may feel like an exercise for Kurosawa, but it’s an enjoyable one, showcasing his well-practiced skills.
A professional flex
Kurosawa’s remake of “Serpent’s Path” is a testament to his growth as a filmmaker. By revisiting his earlier work, he has created a film that is both a professional flex and an engaging thriller. The new version may not significantly expand on the original, but it offers a fresh perspective and a refined execution that makes it worth watching.
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