Kenji Tanigaki and Kenji Kawai: The Composition of the 'Hong Kong Cinema Revival' Supported by the Japanese
If you look closely at the credits for 'Twilight of the Warriors: Walled In,' you will notice that despite it being a Hong Kong film, the names of two Japanese creators appear side by side: action director Kenji Tanigaki and composer Kenji Kawai. When this film is praised as a 'revival of Hong Kong action cinema,' the fact that Japanese individuals technically supported this revival is something that deserves more discussion. In a sense, this film is also a work where Japanese visual culture crossed over to Hong Kong and bore fruit.
Action Director Kenji Tanigaki
Kenji Tanigaki is a choreographer and action director who has been active in the Japanese action film industry for a long time. Alongside figures like Koichi Sakamoto, he is one of the most important individuals in contemporary Japanese action cinematography.
A hallmark of his career is his deep involvement with Hong Kong. Since the 1990s, he has been active in the Hong Kong film industry, collaborating repeatedly with Donnie Yen and others. From 'SPL: Sha Po Lang' and the 'Ip Man' series to the 'Rurouni Kenshin' series, he has been at the forefront of live-action stunts in both Japan and Hong Kong.
Through his work designing the movements for lead actor Takeru Satoh in Keishi Otomo's 'Rurouni Kenshin,' he established a choreography technique that 'brings out the full potential of the Japanese actor's body.' Whether it is sword fighting, hand-to-hand combat, or wire stunts, he relies not on CG, but on maximizing the raw, physical movements of the actors.
In this film, he was tasked with designing the action within the confined space of the Kowloon Walled City. Utilizing the narrow alleys, vertical structures, and complex flow of movement—all while drawing out an intensity that appeals to modern audiences—this job could not have been accomplished by anyone other than someone with experience in both Hong Kong and Japanese cinema.
The Aesthetic of 'Raw Impact'
The hallmark of Tanigaki's choreography is its 'raw impact.' Rather than impacts synthesized by CG, he imprints onto the screen the sensation of actors' bodies physically colliding with one another.
Watching the fight scenes in this film, this characteristic is clearly evident. The sound of a fist hitting a face, the sound of a body slamming into a wall, the sound effects of bones crunching—all of these possess a materiality that cannot be produced in CG combat.
As the audience watches the screen, they feel a sense of pain in their own bodies. This is a sensation that cannot be created unless the choreography, cinematography, sound effects, and editing are all perfectly synchronized. Under Tanigaki's direction, all these elements were integrated with the goal of achieving 'raw impact.'
This is an aesthetic that is the exact opposite of recent Hollywood blockbusters. While the fight scenes in Marvel and DC films are flashily produced through CG compositing, the sense of raw impact is thin. By positioning itself at the opposite pole, this film has acquired a unique physicality.
Composer Kenji Kawai
Kenji Kawai is a composer who has long been active in both Japanese animation and live-action films. From 'Mobile Police Patlabor' and 'Ghost in the Shell' to 'Avalon' and 'Ring,' his music has created a specific texture for Japanese visual culture.
His music is characterized by the fusion of Eastern percussion and modern electronic sound. Japanese drums, gongs, and flutes overlap with synthesizers, electric guitars, and strings in a mysterious balance. This is a unique texture that Japanese animation has contributed to the global musical experience.
Through his long-standing collaboration with Mamoru Oshii, his music has acquired an image of 'the fusion of Eastern spirituality and futuristic technology.' The Japanese drums and female choir heard in the theme song for 'Ghost in the Shell' are burned into the memories of film fans around the world.
In this film, Kawai was tasked with music that included the complex requirement of being an homage to 80s Hong Kong action cinema. He needed to reconcile the traditional musical texture of Hong Kong with the scale of modern film scoring.
Music as an Homage to 80s Hong Kong Cinema
Listening to Kawai's score for this film, one can feel nods to 80s Hong Kong cinema throughout.
The percussion rhythms are reminiscent of the traditional soundtracks of Hong Kong kung fu films. At the same time, the modern orchestration and synthesizer tones position this film not as an 80s nostalgia piece, but as a 21st-century work.
The rhythmic percussion used particularly in the martial arts action scenes was a choice unique to Kawai. The technique of 'synchronizing movement and sound' that he cultivated through Japanese animation music connects here with the traditions of Hong Kong action cinema.
Without Kawai, the music of this film would have had a different texture. If a Hong Kong composer had been in charge, the music would have likely taken a different direction, perhaps more traditional or more contemporary. Kawai's external perspective gave this film its own unique musical identity.
Why were the Japanese chosen?
Why did the creators of this film appoint Japanese individuals to such important positions? There are several reasons for this.
First, the accumulation of expertise. The Japanese film industry has accumulated specific skills over many years. Action choreography, animation music, special effects—in these fields, Japan possesses global competitiveness.
Second, the contraction of the Hong Kong film industry. Since the 1997 handover, the Hong Kong film industry has been gradually shrinking. Talented technicians have scattered across the globe, making it difficult to 'source everything' within Hong Kong. To make a blockbuster like this, it is necessary to bring in outside talent.
Third, cultural proximity. Japanese film culture and Hong Kong film culture have been influencing each other for many years. Communication between staff, shared aesthetics, and professional work ethics—these are relationships that function without friction.
These factors combined to make an international collaboration like this film possible.
The influence on Japanese action cinema
The success of this film will likely influence Japanese action cinema as well.
In recent years, Japanese action cinema has produced several successful examples, such as 'Rurouni Kenshin' and 'Kingdom.' However, there are still few works that can keep up with the scale and perfection of this film. The techniques Tanigaki demonstrated in this film contain much that Japanese action filmmakers should learn from.
At the same time, this film is also an encouragement for young Japanese action directors and choreographers. Japanese technology became the driving force behind creating a top-tier work in Hong Kong, the traditional center of action cinema. This is proof that Japanese action film expression is capable of competing at a global level.
A new form of international co-production
This film is different from 'international co-production' in the traditional sense. Financially, it is almost entirely a Hong Kong production. However, looking at the technical credits, Japanese individuals occupy key positions.
This is a new form of the 21st-century film industry. Funding is in one country, technology is in multiple countries, and distribution is global—the components of a film are being reorganized across borders. This film is an example of a specific combination functioning miraculously within that structure.
The history of Japanese animation and live-action film, and the history of Hong Kong kung fu and noir film. The traditions of both met in this film through the presence of two people: Tanigaki and Kawai. Without them, this film would not have been born in this form.
The true nature of the Hong Kong cinema revival
Although this film is described as a 'revival of Hong Kong action cinema,' the substance of that revival is not the power of Hong Kong alone, but the result of cross-border collaboration. This does not indicate the weakness of Hong Kong cinema. Rather, it shows the openness of Hong Kong cinema to cooperate across borders.
Japan's Tanigaki and Kawai work with Hong Kong creators. The work born there is watched all over the world. Is this not one of the ideal forms of 21st-century film culture?
Every time we watch the credits of this film, we can be reminded that films are made across borders. I want to firmly remember the names Kenji Tanigaki and Kenji Kawai. Because they were there, this film became what it is.
Related Books
'A Life of Action Movies' — A record of Kenji Tanigaki's action-filled life, in which he discusses his experiences on sets ranging from Hong Kong cinema to Japanese film.
'[Illustrated] A Textbook on Film Music: Decoding the Role of Sound in Masterpieces Scene by Scene' — A book that deciphers the role of music in film through the analysis of scenes from classic works.
'Seeing the "World" Through Asian Cinema: Transborder Films and Global Culture' — A collection of essays discussing the current state of Asian cinema, which is created across national borders.
(Some links include PR)