What happens next? The clue is analytical theorem

Building on my take of Kurosawa’s previous film I read Serpent’s Path (1998, Kiyoshi Kurosawa) as a condemnation of depravity calling out the smallest cog in the machine the distribution of evil a lowly salesman is made accountable for and found guilty of contributing the worst overall whereby he’s led under false pretenses through an intricate trap that twists his own twisted morality back on himself. Its thesis is that only an innocent child has the sincerity to discern right from wrong yet none other than an innocent child is the one society is most affected by upon those transgressing said laws. I also kinda see it as dismantling the yakuza genre through directly confronting us its audience.

     The allegory in Serpent’s Path is the nastiest sfuff to be put on camera is perpetrated by the one selling it. This hits so hard with me because I’ve often pondered the nature of how just thinking about that this kinda stuff exists what disturbs me more than the acts themselves is that someone would film it. I never even thought to consider the culpability of someone who sells it. Beyond disturbing I now gotta agree someone marketing finding a clientel for said offensive taboo criminal contraband materials is too scary. More than that the way the MIYASHITA character is depicted oblivious in denial that he’s even done anything wrong. The chilling part of it all is that addressing all this is real life.

 

But the fun of it all is Shô Aikawa as NÎJIMA. The first time I saw Serpent’s Path he felt like this symbolizing embodiment of justice. As in the faulty legal system indiscriminately punishing not necessarily those who committed the crime but close enough. Somebody’s gotta pay. 

     Obviously though the twist ending is set up the first lines in the movie. Are you sure it’s the guy? It doesn’t matter they’re all connected. Miyashita laughs. Then at the end to Miyashita you were all in the same business right? The idea of the serpent’s path could refer to this grand tragedy very moralizing inevitable cause and effect tale of Miyashita making the wrong choice and paying for it. And Niijima is charismatic cool icon of countless yakuza films as against type teacher detached aloof yet driven his dialogue so revealing when he says in answer to the reason he’s doing all this I just wanted to try something like this.

     Then there’s the great image system wheels of justice Niijima constantly spinning that chamber. Also you ever notice when theyr’e playing darts that gag hearing Otsuki moaning off screen suggests though he’s obviously not really like he’s getting hit with the darts. Like he’s part of their game. Which he is. Which it turns out everyone is. And another weird image system thing is every time I see this you can’t help but notice that table of arts and crafts in the math classroom with funerary wreaths being assembled. And finally definitely not funny how do I wash this out of my brain the filthy slide swing set and chair with stirrups in the abandoned warehouse is the uh stuff that nightmares are made of. 

 

Finally there’s the way Serpent’s Path deglamorizes the yakuza genre. Like how Miyashita is having so much fun thrilled bloodthirsty bent on revenge giddy until he’s not. Once Niijima and we know Niijima intricately planned this whole thing gets Miyashita to shoot someone he doesn’t think any of this is as fun anymore. Nor do we. He becomes just this pathetic wretch loser. We realize we’re into something more now.

     The coolest most effective memorable scene in Serpent’s Path is when Miyashita crashes the classroom and right when he’s lulled into thinking he’s going to get what he’s come after. His reward. And by thanking the teacher they’re like friends or something. Like his dignity is intact. Like he’s in a place he can appreciate the child prodigy and her goodness. But no. He can’t. When he’s confronted by her outside that shot. The way his whole demeanor changes. And the blaring overwhelming sound of the el train behind them drowns us until it cuts to silence. Kiyoshi Kurosawa again here manages to make him accountable for what he’s done. And us too.

 

4/5/2026 4/8/2026 Plaza Theatre

Atlanta, GA