Welcome, dear readers, to another edition of Sunday Morning Movie. Today, we take a closer look at the gripping Japanese thriller, The Man Who Stole The Sun:
And next week’s selection will be Dersu Uzala:
Here are some reviews of The Man Who Stole the Sun:
Letterboxd shares their thoughts:
Probably one of the coolest films I’ve ever seen. The lead inspector, portrayed brilliantly by Bunta Sugawara, takes down a kidnapper in an incredibly badass manner. Our main antagonist resembles a terrorist version of Walter White, but instead of manufacturing drugs, he constructs a nuclear bomb and threatens to detonate it while casually chewing gum, exuding confidence. The third act features a wild sequence where a character dangles from a helicopter, firing a gun at someone. The cinematography is outstanding—just look at how stunning a scene in a train station appears! The score is catchy and upbeat.
While the film slows down in the middle to focus on bomb preparation and a romance subplot, it remains a thrilling ride, an underrated gem of invigorating crime action cinema.
By the way, it’s a crime that director Kazuhiko Hasegawa has only directed two films.
Additionally:
This movie takes aim at everyone, poking fun at mass media, generational conflict, arms treaties, and lone-gunmen terrorist narratives. There’s a depth of exploration here that’s surprisingly sophisticated compared to other politically charged thrillers (think STRANGELOVE, THEY LIVE, etc.).
Yet, that’s not the only reason this film stands out. I haven’t seen a movie escalate in intensity like The Man Who Stole the Sun. Initially, I thought it would be a slow-paced technical thriller, following a lonely oddball wielding too much power amidst a bumbling bureaucracy. Then, the second half unleashes a solid hour of relentless action, keeping me on the edge of my seat. I could hardly catch my breath!
And another take:
A black-comedy crime thriller would have sufficed to hook me, but this film deepens the intrigue with a narrative about a possibly existential-crisis-having domestic terrorist holding Japan at ransom over demands suggested in a radio poll… I was sold! Who could resist a plot device featuring a required Rolling Stones concert?
While one could search for clever social commentary about science, war, and discontent, it never feels dull or preachy. Instead, it presents an eccentric epic that cleverly incorporates at least five crime film tropes—heists, hijackings, car chases, sieges, and cat-and-mouse action. As a fan of crime films, I was thrilled by this buffet of cinematic delights.
Moreover, the dynamic storytelling maintains a sense of excitement and momentum throughout what could easily have been an arduous two-and-a-half-hour run time. Despite a slight slowdown in the middle, it breezed by, aided by the charming performances of Kenji Sawada, who embodies depressed, angst-ridden goofiness, and Bunta Sugawara as the resilient cop who cannot be brought down.
Ultimately, it feels both unique and familiar, showcasing shapes you recognize, but arranged in a distinctive way. Simply put, it’s a very good film—don’t let its length deter you.
My thoughts: This darkly humorous tale presents a protagonist whose madness seems aimless, almost as if he’s acting out of boredom. Perhaps that is the underlying message. The action becomes quite absurd, yet it enhances the film rather than detracts from it, even featuring a nod to Taxi Driver. Both films share themes of disconnection, isolation, and nihilism. It’s a worthwhile watch, but probably just once: ⭐.
Director: Kazuhiko Hasegawa
Written by: Leonard Schrader, Kazuhiko Hasegawa
Plot (Spoilers Ahead!):
Makoto Kido, a disillusioned high school science teacher, becomes a super-villain when he steals plutonium from a local power plant. He constructs two bombs: one fake and one genuine.
Using the threat of an explosion, he extorts the government. First, he demands uninterrupted baseball game broadcasts instead of their usual cut-off at 9 PM. Next, he insists on a Rolling Stones concert in Japan. Fueled by power, he spirals further into chaos.
The police, led by seasoned detective Yamashita, are in pursuit of Kido. Their paths collide, resulting in a confrontation that leads to tragedy. As the film concludes, a ticking sound pierces the silence, followed by an explosion.
***
Bonus Feature: Ballet Mécanique (1924)
A groundbreaking silent French film that stands as one of the earliest examples of experimental cinema:
