Blu-ray Review HTF BLU-RAY REVIEW: Merry Christmas Mr. Lawrence

Matt Hough

Senior HTF Member
Apr 24, 2006
Charlotte, NC
Real Name
Matt Hough
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Merry Christmas Mr. Lawrence (Blu-ray)
Directed by Nagisa Oshima

Studio: Criterion
Year: 1983
Aspect Ratio: 1.78:1   1080p   AVC codec
Running Time: 123 minutes
Rating: NR
Audio: DTS-HD Master Audio 2.0 stereo English/Japanese
Subtitles: English

Region: A
MSRP: $ 39.95

Release Date: September 28, 2010

Review Date: September 25, 2010



The Film



In so many of his films, master Japanese filmmaker Nagisa Oshima explored in depth the various social and political structures of established Japanese values. In Merry Christmas Mr. Lawrence, he not only puts Japanese values and mores under the microscope but he contrasts them with their Western counterparts in a setting where they are constantly at odds. In fashioning this sociological psychodrama of East versus West, he must deal with a story of such complex psychosexual depth that the cinema of the time simply wouldn’t have allowed its exploration, that is, if one was hoping for a box-office success. Seen today, the film raises interesting issues and offers some wonderful performances, but it seems incomplete, inevitably unrealized and unfocused in its way and ultimately a bit unsatisfying.


In the middle of World War II, a Japanese prisoner of war camp in Indonesia contains a large squadron of Allied forces who have Hicksley (Jack Thompson) as their officer in charge and Lawrence (Tom Conti) as a kind of liaison officer to the Japanese since he speaks the language. Into the camp comes the captured Major Celliers (David Bowie) whose presence has the camp commandant Captain Yonoi (Ryuichi Sakamoto) bewitched almost to the point of inaction since he seems completely mesmerized by the striking looking British officer. Camp sergeant Hara (Takeshi) has no such problems dishing out punishment and relishing the daily beatings he gets to administer, but Yonoi’s fascination with Celliers tests his effectiveness as the man in charge of the camp.


With the overriding homoeroticism implicit between the two soldiers, both of whom are struggling with the differences in their cultures between guilt (which Celliers feels revealed in a couple of lengthy flashback episodes) and shame (which Yonoi feels in not carrying out fully the demands of his rank, which with their failure would generally lead to ritual seppuku), Oshima and his co-scenarist Paul Mayersberg simply don’t give any time to examining Yonoi’s fatal attraction, as it were. In fact, it’s quite possible the implication might have even flown over the heads of audiences at the time viewing the movie because the filmmakers tippy-toe around the issue rather distractingly instead of meeting it head-on. There’s certainly plenty of talk about the “queers” in the Allied army by Hara in some early scenes as a Dutch prisoner who was raped by a Korean guard denies any interest in same sex encounters (and the guard, of course, attempts hara-kiri after being caught but needs assistance). The debate of Eastern and Western mentalities over being caught and locked in POW camps gets a firmer and more thorough discussion which gives the film its most interesting points to ponder. Less interesting, certainly, are the flashback interludes with Celliers and his humpbacked younger brother (James Malcolm) which, while thoughtfully and gracefully filmed, seem less dramatic and meaningful than they needed to be for the magnitude of substance they’re supposed to represent in Celliers’ life. Oshima films these moments with nostalgic gentility at first but then with a rather raw distance thus lessening the impact of the scenes considerably.


With two rock stars (David Bowie, Ryuichi Sakamoto) carrying the central theatrical weight of the film, it’s no wonder that it also seems a bit of a dramatic lightweight when they are doing the heavy lifting. Both men make striking visual impressions, but their inexperience of acting before the camera makes their roles less significant and impactful than those played by Tom Conti (who’s simply superb in the movie) and Takeshi, a Japanese comedian who brings real weight and power to his moments in the spotlight. Their coda sequence is especially emotional and memorable. Jack Thompson also adds flavor and heft in his role as company leader though his part might have been expanded with some benefit to the film.



Video Quality



The film has been framed at 1.78:1 and is presented in 1080p using the AVC codec. Image quality is very erratic in the movie with some sequences quite striking with excellent sharpness (details in hair, floor mats, and sand are much better represented in the Blu-ray version than in the DVD) and vivid color and other scenes (especially those in lower light) looking murky and unappealing giving the film a rather dated and digital appearance. Black levels are all right but nothing special. The subtitles, which are usually pale white but sometimes light yellow, are generally easy to read but occasionally take some squinting when against pale backgrounds. The film has been divided into 18 chapters.



Audio Quality



The DTS-HD Master Audio 2.0 stereo sound mix is sent to the left and right speakers and is moderately effective. Ryuichi Sakamoto, who plays Yonoi in the film, also wrote the score, his first for a movie, and his haunting title theme gets prominent placement at several points during the movie occasionally being a little loud for the dialogue and obscuring it just a bit. Unlike the DVD which was encoded at a surprisingly loud volume, the volume level here is of no problem.



Special Features




“The Oshima Gang”  is a 1983 behind-the-scenes documentary shot at the time of the film’s premiere at the Cannes Film Festival. Featuring interviews with David Bowie, Tom Conti, and director Nagisa Oshima, the 1080i feature runs 29 ½ minutes.


“On the Screenplay” is a 2010 interview with co-screenwriter Paul Mayersberg discussing how he got the job and how the script veered away from the original novel by Laurens van der Post. The 28-minute featurette is presented in 1080p.


“On Location”  features interviews conducted in 2010 with co-stars Tom Conti and Ryuichi Sakamoto and producer Jeremy Thomas about their experiences working on the movie. The 1080p feature runs 40 minutes.


“On the Music” is another interview with Oscar-winning composer Ryuichi Sakamoto, this time talking about how he approached working on his first movie score. It runs 18 ¼ minutes in 1080p.


Hasten Slowly is a fascinating 1996 documentary on original author Laurens van der Post as he discusses his life and career including some detailed information about his lengthy period in the prisoner of war camp and his later career as a journalist and social activist. It runs 55 ½ minutes in 1080i.


The theatrical trailer is on disc one and is presented in 1080i running 3 ¼ minutes.


The enclosed 29-page booklet contains cast and crew lists, some excellent color stills from the film, an analytical piece on the movie by educator Chuck Stephens, an interview with Oshima conducted in 1983 by film scholar Tadao Sato, and a 2010 interview with Takeshi Kitano about working with the legendary director.


The Criterion Blu-rays include a maneuvering tool called “Timeline” which can be pulled up from the menu or by pushing the red button on the remote. It shows you your progress on the disc and the title of the chapter you’re now in. Additionally, two other buttons on the remote can place or remove bookmarks if you decide to stop viewing before reaching the end of the film or want to mark specific places for later reference.



In Conclusion

3.5/5 (not an average)


An interesting if flawed sociological drama on the culture clashes of the East and West during wartime, Nagisa Oshima’s Merry Christmas Mr. Lawrence is still worth seeing, and the generous selection of fascinating bonus interviews and documentaries give this package some special added value.



Matt Hough

Charlotte, NC


Doug Otte

Supporting Actor
Jun 20, 2003
Thanks for the review, Matt. I'm eagerly awaiting this BD. I haven't seen this movie since the late 1980s, and I've never seen it other than a 4:3 image taped from TV.



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