John Maclean’s acclaimed 2015 revisionist Western Slow West brought a Scotsman to the American West. With his second film, Tornado, Maclean takes the Western to Scotland — this time blending elements of a samurai film. This is an evocative portrait of a rugged 1790s Scotland, brought to life by Robbie Ryan’s gorgeous cinematography, which makes striking imagery out of smoke, sun and the browns of dried-out grass.
Tornado is about more than violence. It’s an exploration of clashing cultures, perceptively explored through Tornado (Japanese popstar-turned-actor Kōki) and her father Fujin (Takehiro Hira). Fujin speaks Japanese, while Tornado insists on English; she eats with a fork, he wants her to use chopsticks. Fujin intends to instill the way of the samurai in Tornado, but she seems distant during lessons. There is one message of Fujin’s that Tornado takes to heart, one that preaches patience: “Know when to move and when to wait,” he tells her.
When the action does eventually reach fever-pitch in the final act, it’s great.
Fujin’s instruction isn’t just a message for Tornado — it’s also key to understanding the film. Though only 90 minutes long, Tornado is something of a slow burn. It may test your resolve, but does allow the chance to soak in the harsh landscapes and the rage that sears through Tornado, seen often in extreme close-up, eyes burning with hurt and purpose. Kōki brings an impressive grit and determination to Tornado, an intriguing clash with the weariness of highwayman and gang leader Sugarman (wonderfully channelled by Tim Roth).
Tornado requires patience, but when the action does eventually reach fever-pitch in the final act, it’s great. What it lacks in epic choreography, it makes up for with brutal refinement. Each swing of Tornado’s sword is rife with vicious purpose, and each severed limb and spurt of gore feels thrillingly earned. This is a blood-soaked coming-of-age in an unforgiving 18th-century Britain.