Based on a novel by Joji Abe, “Oretachi Wa Tenshi Ja Nai” is an unusual entry in Miike’s yakuza movies, particularly because, for the most part, it is a comedy, although the humor is once more slapstick and absurd.

Buy This

The film revolves around Jo, a brutish ex-yakuza who has just been released from prison as the movie begins. As he leaves the “premises” in the white costume he was admitted, he stumbles upon a former associate, Kenta, who has now undergone a sex change operation. After some misunderstandings of sexual nature, Kenta invites Jo to join the delivery service she is running with ex-burglar Chu and Eri, a former biker girl. Soon, however, the unlawful past of everybody comes knocking, particularly when Eri’s ex-boyfriend Sugeyoshi, tricks her the into thinking his boss is about to kill him. At the same time, Kenta, frustrated by the fact that Jo is smitten with Eri, joins a shady cult, actually run by a yakuza in disguise. As the problems of everyone involved become direr, Jo uses his punches to solve them.

The combination of action, comedy, and sensualism works quite well for the film, since Miike manages to present them all adequately, in a fashion that results in a faulty, but also quite entertaining effort. The unfulfilled love triangle between Jo, Eri and Kenta functions as the base of the narrative, with most occurrences taking place due to the particular dynamics, which are the main source of both comedy and the few moments of drama. Regarding the first aspect, one could say that the humor here is pedantically sexual, mostly revolving around the size of Jo’s member and the fact that he cannot contain his erections, and his and Chu’s efforts to witness Kenta’s transformed body. The comedy also extends to the various action scenes, with Jo’s exuberant power resulting in a number of hilarious, if a bit clichéd sequences, as the one where he has to face the equally brutish bodyguard of the cult leader. On the other hand, the scene where he tries to throw a glass of water on a yakuza boss who is eating a carbonara is bound to stay on mind.

Kenta is the main source of drama, with Miike making a comment about the way transsexuals were treated at the time, with her becoming the victim of violence a number of times, particularly after her frustration about Eri and Jo leads her to repeated lashing outs. This part also hides a comment about cults, and the way people get sucked in them. These elements do not mean the focus of the movie is on socially commentary, but are still a nice addition to an overall “silly” film.

Technically, there is not much to comment on, with Fujio Matushima’s cinematography being basic, in essence just accompanying the episodic nature of the narrative. Probably the best aspect of the production is the set design, an element that finds its apogee on the cult part.

The casting on the other hand, is quite fitting, and probably the film’s best asset. Rikiya Yasuoka is quite convincing in the role of Jo, speaking mostly with his punches, and gorgeous Makiko Kuno as Eri justifies the way men react around her fully. The ones who steal the show, though, are real-life transsexual Love who gives the most accomplished performance in the movie as Kenta, and an unrecognizable Ren Osugi, who plays the cult leader with much gusto.

Evidently, “Oretachi Wa Tenshi Ja Na” is not among Miike’s best works, and the story is hyperbolic. However, it is quite entertaining, and in terms of production, relatively accomplished, with the combination resulting in one of the most watchable early efforts of the prolific Japanese director.