What do Guy Ritchie and raw salmon have in common? Find out when Christian Seiersen delves into his metaphorical pouch to present four film themes that are indistinguishable in likeness to Sushi, Japan’s national dish.
Chicken Katsu- Chronicles of Narnia
There is something eerily unnatural about sushi restaurants serving the fried chicken dish of Chicken Katsu, it’s like displaying the Beano comic strip at the Louvre. Don’t get me wrong, I love fried chicken as much as the next mechanic. I just want it served in its natural habitat, resting in a bucket and presented by someone wearing a hair net. When it’s served in unfamiliar surroundings where the accompanying sauce is not made by Heinz, and to the serene twanging of the Shamisen- a traditional three-stringed instrument- you feel a cat has just rested a mauled pigeon at your feet. It could have been done so much better.
I felt similarly after seeing The Chronicles of Narnia. When it comes to translating children’s literature into the ‘Twilight’ Zone of films- yes, even rugged vampires aren’t safe-it’s a case of counting the casualties. So who’s the ringleader, who’s responsible for deep-frying the metaphorical chicken? A mastermind, perhaps, propped by an empire of cartoons, loved by millions. A certain Walt Disney, a man obsessed with drawing racist mice. I digress, we’ll leave such matters to Cartoon Network.
Granted, Walt himself wasn’t single-handedly responsible for the butchery of Narnia, he didn’t personally slip fake tan vouchers under the fabled Prince Caspian’s door. And, to be fair to Mickey Mouse, he straightened out when he met Minnie, but you get the idea.
Think of classic children’s literature as No Man’s Land, venture too far and you risk a deadly salvo from entrenched film critics. Like the Somme, you may get the results on paper, but at what cost? Stick instead with films like Inspector Gadget where casualties are minimised or, in the case of strained political analogy, the Falklands War.
Nigiri- Hugh Grant’s rom-coms
With only a slab of rice and assorted topping to its name, Nigiri sushi was never the shiniest bauble on the Christmas tree. It’s more an innocuous red one, used to make up numbers. That’s not to say Nigiri doesn’t have its uses, it’s a steady winch to lower newcomers into the realms of Sushi or the reliable mule for Sushiites, whose adventurousness has been curbed by a recent bout of food poisoning. In movie terms, a Hugh Grant rom-com. Done so many times it could morph into a soap opera, even with the same name.
With his inane politeness, “Oh Golly, I may have piddled on your lavatory seat” and elegant plume of floppy hair, he would be more at home on the Discovery Channel. A treacherous gibbon, perhaps, that charms the feathers off a bird before stealing their eggs.
In fact David Attenborough should do a documentary on the untamed lion that is Hugh Grant’s acting career. Nomadic, he has roamed the Hollywood plains searching for the spectral oases of a thriller film or, dare I say, an Oscar nominee, only to plod dejectedly back to the Bridget Jones’ pride.
Though I mock him, Hugh has been a cornerstone of the romantic comedy sector. If you will, the equivalent of a lift operator who has worked, unquestioning, for 50 years. When he bows out there will be many a thirty-something, saluting him with their Haagen-Dazs ice cream tub while watching a pimple-faced alternative. Something with Michael Cera.
Sashimi- Guy Ritchie gangster films
On a sushi menu where flavours are often intertwined to achieve the supreme combination, the raw fish that is Sashimi holds no alliances. Like a renegade cop it doesn’t need partners; rice would slow it down, ask too many questions and seaweed would smother it. Sashimi works alone.
But such brash characterisation is not enough these days. Unlike the flickering era of black and white films, it is no longer sufficient to dress a bad guy in a blackened cape and have someone appear beforehand, wearing glasses to bolster the veneer of intelligence and saying, “trust me, this guy is well evil.” Nowadays Sashimi needs a genial cockney accent, a sharp tailor and a drinking spot in South London. It needs a part in a Guy Ritchie gangster film.
Some wonton destruction and sharp one-liners later, and Ritchie would have late night crime thrillers from Bravo queuing up to get a piece of this Sashimi, the new, raw talent from the wrong side of the tracks. Just look at what the director did for British footballer-cum-actor Vinnie Jones’ career or Hollywood hardman Jason Statham.
In the films Snatch and Lock Stock and Two Smoking Barrels, Ritchie succeeds on a well-trodden path, making criminals likeable. Lock Stock saw his depiction of London’s largest marijuana dealers as a gaggle of hippies, who defend against intruders with air rifles. Now tell me Sashimi doesn’t need some Ritchie magic to accompany its stab at being professionally ‘well ‘ard’.
Maki- Shutter Island
Comprising raw fish wrapped in a layer of rice and then seaweed paper, Maki is a product of meticulous preparation. I like to imagine that each responsible chef is fresh from learning the trade in a Japanese training montage, packed with close-ups of their master raising his eyebrow quizzically and stroking a swan. Outlawed by the fast food nation, the band is forced to meet in abandoned houses that double as a fight club for Brad Pitt.
Although not conceived in similar circumstances, for a film constructed with equal flourishes of skill see recent blockbuster Shutter Island. The opening scene is a cinematic omen for things to come. Waves lash furiously against the island’s rocks, an atmospheric score is carved over the backdrop; we’re in thriller country and director Martin Scorsese is in his element. The Johnny Depp to Scorsese’s Tim Burton, the ever-prolific accomplice Leonardo DiCaprio is along for the ride and together they engineer a blitzkrieg of shocks, scares and anything else needed to convince you that investigating a lunatic asylum is a really poor idea.
With an increasingly raucous entourage of successful films and a respectable South African accent on his CV- accents can be the graveyard of stars, just ask John Wayne when he played Genghis Khan in The Conqueror- it would take a brave man to bet against DiCaprio not getting an Oscar soon. Especially after previous winner Adrien Brody bore the thespian torch for his compatriots by fronting the recent remake of Arnie classic Predator, hardly screen-shattering.