In Shuichi Yoshida’s masterpiece novel Kokuhou (National Treasure), one of the most surprising changes for fans in the film adaptation is the pivotal Kabuki play.
The play that defines the fate of the protagonist, Kikuo (played by Ryo Yoshizawa), was changed from the original’s Sumidagawa to Sonezaki Shinju.
Why did the director and production team make this deliberate choice?
Here are three key reasons behind the change in the repertoire.
1. From “Static Madness” to “Dynamic Catharsis”
The original play, Sumidagawa, is a “static” and introspective piece depicting a mother who goes mad after losing her child.
While it perfectly illustrates Kikuo’s deepening solitude and mastery of his craft, a film on the big screen often demands more visual dynamism.
- Dramatic Nature of Double Suicide: The beauty of the Michiyuki (the journey to death), where Tokube and Ohatsu walk hand-in-hand toward their demise, possesses a brilliance and tragic weight fitting for a cinematic climax.
- Visual Storytelling: The white-painted faces emerging from the darkness and their intertwining hands create an overwhelming visual beauty that is best appreciated through high-quality cinematography.
2. The Codependency and Physical Limits of Kikuo and Shunsuke
The primary reason was likely to emphasize the intense relationship with Shunsuke (played by Ryusei Yokohama), who is both Kikuo’s rival and his “other half.”
In contrast to Sumidagawa, which is a solo performance by a madwoman, the movie’s version of Sonezaki Shinju is depicted as a story where two men literally consume each other’s lives.
- Shunsuke’s Ravaged Body: In the film, Shunsuke’s legs have reached their limit.
With one prosthetic leg and the other suffering from gangrene, the stakes of the performance are transformed by the desperate knowledge that he may never walk again. - The Haunting “Michiyuki”: As they stumble along the hanamichi (the runway through the audience), Shunsuke—barely able to walk—clings to Kikuo’s Ohatsu.
This scene transcends mere performance; it captures the flickering flame of an actor’s life. - The Final Blow: The final moment when Kikuo raises his sword is not just an act of love for a partner, but a ritualistic “mercy killing” by a best friend to an actor whose body is broken.
3. The Necessity of a Duel Between Two Young Stars
With Ryo Yoshizawa and Ryusei Yokohama—two of the leading actors of their generation—carrying this heavy story, the scenes where they clash become the heart of the film.
- The Dialogue Between Tokube and Ohatsu: Sonezaki Shinju allows for a profound exchange of glances, touch, and raw emotion between the two leads.
- Mastery of Movement: Under the guidance of Kabuki master Nakamura Ganjiro, the actors meticulously crafted the complex distance between their characters, making every gesture and glance a focal point of the drama.
Conclusion: The “Correctness” of the Change
While the deep solitude of Sumidagawa in the original novel is irreplaceable, the choice of Sonezaki Shinju for the film Kokuhou provided a perfect conclusion for “the story of two men who live and die for their art.”
Through this change, the film captures details that might be missed in a single viewing—the changing color of Shunsuke’s legs, the determination in Kikuo’s eyes, and the precise use of a single folding fan.
These elements prove that the change in the play was indeed the right decision for this cinematic adaptation.
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