4. Japanese Setting
Ridley Scotts flawless direction is a major factor in producing an engaging and visually-imposing film. However, the story itself has strength through the positioning of American characters within a Japanese setting. The police-procedural format often seen in cinema is fairly simple, though there are of course problems within the narrative which are resolved. In American police drama films, the plot is often predictable, and the outcome of the story can be seen from the outset. The reason is that the popular police-procedural rarely leaves a familiar Western, Americanised setting. Were all familiar with the detection of evidence, the finding of clues, the solving of crimes. The car chase and the shoot-out. The uptight Chief and the lowly cop are recognisable characters, as are the conspiring criminal masterminds and henchmen. In Black Rain, the police-procedural is shaken up and thrown out, the moment the two American detectives land in Japan. The story sees the central antagonist Sato escape, and Conklin feels compelled and duty-bound to bring him to justice. But the methods, procedures and environment Conklin is used to are gone. He is stripped of his powers, and his jurisdiction in Japan is limited to merely observing the Japanese police do their work. Conklins character is unwilling to sit back and let Sato escape, and the film captures his frustration and anger at the prospect of letting the Yakuza win.
As the story develops, we see how Conklin slowly integrates into the ways of the Japanese. We see his brash, arrogant and American manner slowly give way to the slow, determined resolve of the Japanese. Japanese actor Ken Takakura appears as Detective Masahiro Matsumoto, and he essentially transforms Conklins ways. The two detectives at first show a level of resentment, but learn from each other, and ultimately solve the case together. Takakuras Matsumoto is the law-enforcing antithesis of Michael Douglas Conklin, but the development of both characters reveals a strong bond over the fight for justice. The Japanese setting of Black Rain, coupled with the American nature of the main characters, provides a unique and meaningful alternative to the regular police-procedural film. Through Black Rain, we see how the imperfect cop can adapt to an unfamiliar and threatening environment, change his ways, and succeed in his mission. The stereotypical gung-ho cop is brought into reality, and replaced with a deeper and more dynamic character. Equally, the setting creates a deeper and more dynamic film.