Three Resurrected Drunkards

Three Resurrected Drunkards is a stunning avant-garde comedic drama that was released in 1968 and directed by the famed Japanese auteur Nagisa Oshima. Anchored by a remarkable cast that includes Kazuhiko Kato, Osamu Kitayama, and Norihiko Hashida, the film is delightful and boundary-pushing in its exploration of societal norms and themes of discrimination, war, and identity.

The movie commences with an incredibly intriguing opening scene, involving three friends enjoying a day at the beach. Evoking a lighthearted atmosphere, it sets the mood for an initially comedic and upbeat narrative, with Kazuhiko Kato, Osamu Kitayama, and Norihiko Hashida giving charming performances as these carefree companions. Presumably fueled by an artistic interpretation of drunkenness, they create a lively symphony of humor and confusion that is set to unfold.

However, as the story progresses, the film takes an unexpected dramatic turn with a surprising twist that both subverts the viewers' expectations and significantly shifts the narrative. The innocuous beach day soon spirals into a labyrinth of confusion and dilemma when the trio, in a humorous mix-up, swaps their swim trunks for the uniforms of Korean migrant workers.

The narrative then sharply advances into a surrealistic sequence of events that compel the protagonists to grapple with discrimination and prejudice in society. The swapped clothes trope unveils a stark socio-political commentary, challenging the notions of nationality and identity. The protagonists suddenly find themselves in a world where they are perceived as Koreans, thus they are discriminated against due to the strained post-war relationship between the two nations and the stereotyping of Koreans in Japanese society. This exposes the inherent contradictions and prejudices present in society.

Simultaneously absurd and profound, Three Resurrected Drunkards is more than peals of laughter and a veil of comedy. It creatively integrates slapstick humor with critical discourse about nationality and xenophobia, resulting in a thought-provoking expose on societal prejudices. The challenges and discrimination faced by the three friends are representative of the broader experiences of many marginalized groups in society, reflecting the harsh reality of xenophobia in an unsettlingly real manner.

As the narrative unfolds, the characters are repeatedly mistaken for other people, adding another layer to the film's exploration of identity. This constant false identification not only highlights the fallacy of stereotypes but also calls into question the fluidity and subjectivity of identity itself. The protagonists' resistance to their enforced identities, their quest to assert their true identity, and their struggle against an oppressive system form a significant core of the movie's narrative.

Curiously, the film also exhibits the technique of narrative looping, where the first half seems to repeat in the second half, somewhat like a small-scale time loop. Thus, the linear narrative is shattered as the story effectively repeats its own plot midway through the movie. This repetition serves to enhance the sense of absurdity and disorientation, as the protagonists navigate their surreal predicament.

A multi-layered film that combines comedy, drama, and satire, Three Resurrected Drunkards offers a comical yet hard-hitting commentary on the social and political tapestry of post-war Japan-November South Korea relations. Its thematic depth, paired with Nagisa Oshima's unique directorial vision, makes it an essential viewing for anyone interested in innovative, avant-garde cinema.

In conclusion, Three Resurrected Drunkards holds a mirror up to society, reflecting the absurdity of stereotypes and prejudices while presenting a heartfelt story of friendship and identity. With its unconventional narrative style and blending of various genres, as well as its compelling performances by Kazuhiko Kato, Osamu Kitayama, and Norihiko Hashida, this film stands as a memorable and thought-provoking piece of cinema. It is not just about the humor and laughter it induces, but also about the introspection and discourse it initiates. Thus, it remains relevant and insightful, even many years after its 1968 release.