Battle Royale II: Requiem or Batoru rowaiaru tsū: Rekuiemu or (バトル・ロワイアルＩＩ (2003)
Having found the first Battle Royale fascinating, I’m now slightly embarrassed to find the sequel Battle Royale II: Requiem or Batoru rowaiaru tsū: Rekuiemu or (バトル・ロワイアルＩＩ (2003) offensive. To understand why, we need to review the plot. Set three years after the events of the first film, Shuya Nanahara (Tatsuya Fujiwara) has been a catalyst for the formation of a rebel group calling itself the “Wild Seven”. As the government increases the number of young adults forced to participate in the “battles”, the group strikes back in a 9/11 style bombing attack which brings down “twin towers” in Tokyo. This is the group declaring war on the adults. In the name of “justice” the government comes up with a new game plan. A group of school children is to be sent into battle against the Wild Seven. If children are the problem, then children should be the solution. In reality, of course, this is all rather silly. If any group of armed terrorists was sufficiently well organised to bring down two major skyscrapers, every policing and military adult at the disposal of the government would be on their track. The idea this group’s secret base would be identified and then attacked by a ragtag team of untrained students is absurd. But since the point of the film is to give our wild team members a fighting chance of survival, there can be no overflight with some rather large bunker-busting bombs, laser-guided to their destination. Instead, their location on a suitably uninhabited island is noted and the young adults recruited.
In this, I note the more explicit television coverage of the students, now fitted out with their collars, being taken into the centre for their orientation briefing. Seeing the terror on their faces would have the desired effect on the television audience. But just why has this bunch of terrorist kids come to this island? It makes absolutely no sense that such an age range of children and young adults would set up camp in an abandoned building like this when they could be enjoying the sunshine in Afghanistan or some other distant place where terrorism is the way of life and there’s safety in numbers. And before you ask, it turns out our terrorists had escaped to Afghanistan where they saw the true horrors of war and we get crass political interludes praising the children who have survived American bombing and other atrocities.
The main link between the two films is the introduction of Shiori Kitano (Ai Maeda). She’s the daughter of the teacher in the first film where he’s seen talking with her over the phone on several key occasions. It was not a happy relationship so she’s inevitably conflicted about his death. When she learns of his emotional attachment (in the purest sense of the words) to one of the girl’s in the class, she realises she has somehow missed out. In moments of unrealistic jealousy, she thinks this girl had a kind of parental relationship with her father. She therefore wants revenge and asks to be involved in the attack. This is part of some rather cod psychology on the part of the government. In the terrorist outrages, the Wild Seven have been responsible for the deaths of many adults. In selecting people to pit against these terrorists, the government therefore picks young adults whose parents have died at the hands of the Wild Seven. For the most part, these do not look like conventional students. They all affect a dress code and behaviour pattern suggesting they are more likely to be in sympathy with the terrorists than the government. But this just goes to show that, whether in a fictional or the real world, adults know nothing about children. To prove the point that bullying is not always the right approach, the “teacher” in charge, Riki Takeuchi (Riki Takeuchi), lays down the ground rules. You have three days to kill the terrorists or you die. Anyone who does not want to play the game can volunteer to demonstrate the destructive capabilities of those collars.
So this sends off the now forty volunteers on a sea-born landing that’s not exactly a success, leaving the kids running around like headless chickens on the beach (only metaphorically, of course). The shaky cam work is distinctly amateurish and the plot slowly devolves into almost complete stupidity as our amateur soldiers get a kicking from the terrorists who are well dug-in and prepared. The only point of interest in this is that Shiori Kitano proves a good leader and keeps as many alive as possible. Then, when the surviving conscripts have been persuaded to change sides, real soldiers attempt a landing and they are wiped out. This just gets progressively more silly as Riki Takeuchi sits in mission HQ and does nothing.
The real problem with the film is that it has no coherent point to make. It could be deeply political and discuss the relationship between a government and its people. Or it could take completely the opposite line and discuss under what circumstances, if any, it’s justifiable for a people to take up arms against its own government. Instead it flirts with inane trivialities. None of the people involved in this have any rational policy to pursue. These terrorists seem to believe it’s morally acceptable to pursue individual liberty even if it means killing large numbers of people on to way to achieving an unrealisable peace. It’s “children of the world unite, you have nothing to lose but the chains wrapped around you by your parents”. When this absurd propaganda is broadcast to the world, the Americans do what the Japanese should have done from the outset. They fire a few missiles at the island. This exceptionalism is deeply embarrassing to the Japanese Prime Minister. Its ally thinks it’s politically and morally acceptable to drop bombs on Japanese soil without asking permission first. The Japanese army is sent in. Who needs American missiles when the Japanese army can be sacrificed on a nameless island.
I suppose that, if I had to put my finger on the horror element in the first film, it’s the willingness of the “friends” to kill each other. This is not a group of strangers brought together like gladiators for an audience to cheer as they kill each other. This is a group that has grown up together in a classroom. They know each other. As a microcosm of the world, they have divided themselves into factions, grouped around stronger personalities. So when they are abandoned on the island, it’s like a family forced to turn on itself. Brother kills brother, sister kills surviving brother, and so on. The effect of the slaughter is to highlight the immorality of the state in putting these children in that position. Thematically, the sequel changes the focus and with it, loses the moral plot.
In the year this film was released, it was estimated that children were fighting as soldiers in most of the ongoing conflict situations around the world. That’s fighting both for and against governments. It’s just the luck of where they happen to be born and which side gets to recruit them first. In making heroes of children fighting in this film, I fear the film-makers have stepped over a line. It shows children fighting heroically and killing adult soldiers. This is an evil condemned by all civilised states. Using children for military purposes is considered the ultimately immoral act not only because it trains the innocent to be killers, but also because it forces adults to kill children in self-defence. When states only reluctantly send their women into battle, this is a film that glorifies children fighting against adults in an all-out war. In modern theatres of war, soldiers must now look on anything that moves as a potential threat. In the good old days of warfare, soldiers would kill the enemy men, rape their women and “save” the children. With today’s children carrying AK47s, the children are no longer waiting to be saved.
I’m open to be convinced by any point of view. Although instinctively I think child soldiers are victims to be pitied and, if possible, rehabilitated, the last thing I expected was a film turning such children into heroes. It’s all there. The martial music, the camera angles and general cinematography that dehumanises the adult enemies in battle, and so on. Worse, it shows the hard core warriors actively recruiting the naive children sent to kill them. By the end of the film, the newcomers are as heroic as their peers when it comes to killing the adult enemy. Perhaps I’m being a little naive in viewing the children as like a virus out to infect children around the world, inciting them to rise up and kill their oppressive parents and all other adults. I was waiting for the film-makers to condemn this. I hoped the ending would reset the moral compass so this alternate history version of Japan could find its way out of this internecine situation. Except what we get is implicit approval for continuing conflict and death. It’s all binary: black and white, adult and child, war and peace. Until everyone learns to compromise, how can anything be resolved? You would hope the adults would know better, that they would create a situation in which even these irrational children could be brought back into the human fold. Except adults in authority positions are not often forgiving. That leaves it to subordinates to decide on the ground, what the outcome should be. So maybe the only possibility is to wait it all out. As we live through winter, it may seem as though spring will never come. Yet, unless the winter is a post-apocalypse affair induced by nuclear fallout, spring always does come and with it, the possibility of a better place to live. Or maybe only death brings peace. Overall this means Battle Royale II: Requiem or Batoru rowaiaru tsū: Rekuiemu or (バトル・ロワイアルＩＩ is neither dull nor unexciting. Taken individually, some scenes match those from great examples of war films. But the morality of the military fiction we’re expected to find exciting makes the film offensive.
For a review of the first in the series, see Battle Royale or Batoru Rowaiaru, バトル・ロワイアル, 大逃殺 (2000)