Masterful Acting in ‘Kokuho,’ a Chronicle of a Fictitious Kabuki Star; Director Lee Sang-il Demonstrates Ability Again

By Yasuko Onda / Yomiuri Shimbun Senior Writer

10:45 JST, June 20, 2025

What is an actor pursuing when they walk the path of art?

The film “Kokuho,” directed by Lee Sang-il, chronicles the life of a fictitious onnagata, a kabuki actor who specializes in female roles. It is an extravagant film about life dedicated to art, a rarity in the Japanese film scene of late.

The film is based on Shuichi Yoshida’s novel of the same title, which means “national treasure.”

Bloodline is taken seriously in the world of kabuki. Star quality is usually hereditary, yet the film’s protagonist, Kikuo (played by Ryo Yoshizawa), is an outsider who comes from Nagasaki Prefecture. What’s more, his father is the leader of a yakuza group. However, Kikuo is blessed with radiant beauty and extraordinary talent. The story asks if his abilities alone are enough for him to climb the ladder of the kabuki world. The film follows his half-century journey from the middle years of the Showa era (1926-1989) to the Heisei era (1989-2019).

The story starts in the mid-1960s. Kikuo, then an adolescent, sees his father killed by a yakuza in front of his eyes. He then moves from Nagasaki to Osaka, where he aspires to become an actor under Hanjiro (Ken Watanabe), a big-name actor of Kamigata kabuki (kabuki from the Kansai region). Kikuo trains alongside Hanjiro’s son, Shunsuke (Ryusei Yokohama).

Kikuo and Shunsuke, who are the same age, form a comrade-like bond. Soon an entertainment company gives them an opportunity to perform on stage together in a big production, and they quickly rise to stardom. Kikuo in particular builds a successful career at an incredibly fast rate for someone coming from outside the kabuki world. He then hits a wall.

The film is a feast for the eyes, with the dramatic story intertwined with glamorous kabuki plays and dances. The spectacular production design by Yohei Taneda of “Kill Bill: Volume 1” fame is appealing, too, including stylized beauty in the opening scene evocative of classic yakuza films.

However, the film’s main draw is the acting. Kikuo and Shunsuke are difficult roles to play because both characters perform scenes from various kabuki plays and dances on stage. Yoshizawa and Yokohama received a considerable amount of training before working on this film, and their commitment and dedication show on screen.

As the story plays out, questions come to mind. Why do actors try to perform on stage even when it requires overcoming major difficulties? What does it give them? What lies beyond their gaze? Viewers are drawn to pursue the answers to these questions in the story of Kikuo and Shunsuke while also looking at Yoshizawa and Yokohama taking on the complicated task of playing their characters.

This kind of nested structure adds a special charm to the film, and the audience is led to experience the joy that comes from the power of art, demonstrated by dedicated actors.

The director, Lee, is a master at pulling out great performances from actors, which he has done in many of his films, including “Yurusarezaru Mono” (“Unforgiven”) starring Ken Watanabe, a remake of Clint Eastwood’s “Unforgiven.” Lee made the most of this great ability of his in “Kokuho.”