<figure id="attachment_436728" class="wp-caption alignnone" style="width: 5472px;" aria-describedby="caption-attachment-436728"><a href="#" data-ident_hash="04bac54a"><img src="https://res.cloudinary.com/fridaydigital/image/private/t_article_image/wpmedia/2025/08/cabc42ce3138b68bcd5b2762cd270243.jpg" alt=""></a><figcaption id="caption-attachment-436728" class="wp-caption-text">Ryō Yoshizawa (left) and director Lee Sang-il appeared at the stage greeting in June to celebrate the hit.</figcaption></figure>
<h2> No one expected this</h2>
Director Lee Sang-il (51), who depicted 50 years of a man dedicating his life to the art of Kabuki as an onnagata, saw his film National Treasure released on August 21, achieve a box office revenue of 11,016,330,000 yen and attract 7,829,237 viewers over 77 days, surpassing Antarctica (1983, 11 billion yen) to become the second-highest grossing live-action Japanese film of all time.
The top-grossing live-action Japanese film is Bayside Shakedown THE MOVIE 2: Lockdown the Rainbow Bridge! (2003), which earned 17.35 billion yen, and there is industry attention on the possibility that National Treasure could surpass this.
Twelve weeks after its release, weekday screenings in Tokyo cinemas are nearly full, with audiences ranging from young people to the elderly, and many repeat viewers.
“From its June 6 release, weekend box office revenues exceeded the previous week for four consecutive weeks, marking a strong start, but initially we estimated around 3 billion yen. No one probably expected it to surpass 10 billion. At this pace, 15 billion yen seems certain. This is just a prediction, but there is talk in the industry that it could even surpass the 17.35 billion yen of Bayside Shakedown THE MOVIE 2, the highest-grossing live-action Japanese film” (film distribution company source).
The film National Treasure, which has become a social phenomenon, is based on the novel of the same name by Akutagawa Prize-winning author Shūichi Yoshida, which also received the 69th Art Encouragement Prize from the Minister of Education, Culture, Sports, Science and Technology. The story follows Kikuo, born into a yakuza family, whose father, a gang leader, dies in a clash between groups. He is taken in by Hanjiro Hanai, a prominent Kabuki figure played by Ken Watanabe (65), and dedicates 50 years of his life to the art of Kabuki as an onnagata.
Kikuo, played by Ryō Yoshizawa (31), and Hanai’s heir Shunsuke, played by Ryusei Yokohama (28), develop their skills while competing with each other and gaining popularity. However, when Hanjiro suffers a serious accident, a dramatic confrontation ensues over whether the replacement should be the talented Kikuo or the heir Shunsuke. The film depicts the shifting positions of the two and explores the deep, intense drama of love, hatred, and friendship behind the Kabuki world, brought to life by a star-studded cast.
Kabuki actor Nakamura Ganjiro IV, also appearing in the film, provided Kabuki guidance, and Yoshizawa and Yokohama underwent a year-and-a-half of intensive training in onnagata makeup, gestures, and dance. The resulting stage performances, including Futari Dojoji and Sonezaki Shinjū, are breathtaking.
Cinematography was handled by Sofian El Fani, who served as the director of photography for Blue Is the Warmest Color (2014), Palme d’Or winner at the 66th Cannes Film Festival, capturing the two actors’ compelling performances from multiple camera angles and depicting them with stunning visual beauty.
<div data-friday-nextpage-lead="Differences from &quot;Bayside Shakedown,&quot; which was a popular drama series"></div>
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<figure id="attachment_436734" class="wp-caption alignnone" style="width: 2886px;" aria-describedby="caption-attachment-436734"><a href="#" data-ident_hash="87e9d3d7"><img src="https://res.cloudinary.com/fridaydigital/image/private/t_article_image/wpmedia/2025/08/73f86933c0ed5fdd45e05a4d2384aed8.jpg" alt=""></a><figcaption id="caption-attachment-436734" class="wp-caption-text">Ryusei Yokohama brilliantly portrayed the Kabuki actor role alongside Ryō Yoshizawa.</figcaption></figure>
Even within the Kabuki community, the film has been praised. Ichikawa Danjūrō, one of Japan’s leading Kabuki actors, commented on National Treasure on his YouTube channel KABUKU./Ichikawa Danjūrō:
&#8220;Even if there are minor things that catch your attention, it’s a work you can watch without being bothered. It’s wonderful that experts feel that way. That includes sleeves, wigs, makeup, voice, gestures, and so on, but the actor’s skill erases all of that from the screen.&#8221;
He also sent his eldest daughter, the fourth-generation Ichikawa Botan, and eldest son, the eighth-generation Ichikawa Shinnosuke, to watch the film, saying:
&#8220;Seeing the slight change in their eyes after watching it made me truly grateful for this movie.&#8221;
Regarding the scenes showing young Kikuo and Shunsuke being scolded or strictly trained by Hanjiro during practice, he recalled:
&#8220;It was even harsher. There were days so strict that I thought it might change their very bone structure, at least until around fourth grade. We don’t do that anymore now.&#8221;
He added:
&#8220;I hope this movie inspires more people to become interested in Kabuki.&#8221;
True to his words, the release of National Treasure has increased interest in Kabuki, with more people attending performances at venues such as the Kabuki-za. Additionally, the September issue (released August 1) of the monthly magazine Scenario, which included the film’s script, quickly sold out and required restocking, reflecting the film’s impact.
<h2>If it were released in the U.S., it could even compete for the prestigious Academy Awards</h2>
Speaking of Director Lee, he is renowned for the high quality of each of his works, including Hula Girls (’06), which won the Best Picture Award at the 30th Japan Academy Prize; Villain (’10), which received the Best Japanese Film and Best Director awards at the 84th Kinema Junpo Best Ten; Unforgiven (’13); and Rage (’16), which earned Best Supporting Actor (Satoshi Tsumabuki) at the 40th Japan Academy Prize. National Treasure is a nearly three-hour epic that serves as a culmination of Lee’s career.
In particular, his hit Hula Girls (’06) depicted the true story of the birth and success of the Joban Hawaiian Center (now Spa Resort Hawaiians) in Iwaki City, Fukushima Prefecture, established as a revitalization project after the drastic downsizing of the Joban coal mine in 1965. Aspiring dancers, played by Yu Aoi and others, auditioned after seeing recruitment ads, trained under former dancer Yasuko Matsuyuki, and struggled but eventually performed impressive hula dances, which moved audiences and resulted in box office earnings exceeding 1.4 billion yen. It also became a breakout role for Aoi. The film swept that year’s awards, including Best Picture, Best Director (Lee Sang-il), Best Screenplay (Lee Sang-il, Daisuke Habara), Best Supporting Actress (Yu Aoi), Popularity Award (Film Category), and New Actor Awards (Yu Aoi, Shizuyo Yamazaki) at the 30th Japan Academy Prize.
That a live-action Japanese film has surpassed 10 billion yen in box office revenue and is approaching the all-time record is truly exceptional. While Bayside Shakedown was a film adaptation of a highly popular TV drama starring Yuji Oda and was expected to succeed, no one could have predicted that National Treasure, centered on the traditional performing art of kabuki, would become such a social phenomenon. Its breathtaking kabuki scenes, intense human drama, artistry, and cinematography captivated a broad audience, and the compelling performances of leading contemporary actors Ryo Yoshizawa and Ryusei Yokohama were also major factors in its success.
Many insiders say that this exceptional National Treasure is highly likely to receive numerous film awards this year.
“Of course, the Best Picture Award, but also Lee Sang-il for Best Director, Ryo Yoshizawa for Best Actor, Ryusei Yokohama for Best Supporting Actor, Art Direction, Sophian El Fani for Cinematography, and Satoko Okudera for Screenplay are all top contenders,” said a film industry insider.
Moreover, because it focuses on Japan’s traditional performing art of kabuki, international attention is also expected. The film has already been scheduled for release in France, Switzerland, the Netherlands, South Korea, and Taiwan. It has also been officially selected for the Special Presentation section of the 50th Toronto International Film Festival. It could be recommended as Japan’s official entry for the Academy Award for Best International Feature Film, and if released in the U.S., it could even contend for the main awards. The remarkable run of National Treasure shows no signs of slowing down.

 Ryo Sakamoto (former head of the Culture and Society Department of Tokyo Sports Newspaper)

 Kazuhiko Nakamura

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