A simple story, Wasabi tells of Hubert (Jean Reno), a French cop who resorts to violence to get the job done. The love of his life ran out on him long ago, leaving him with a pen. Almost 20 years later he receives news that she is dead, and that he is the sole person mentioned in her will.
When Hubert returns to Japan he reunites with his old spy buddy Momo (Michel Muller) and finds out he also has a daughter Yumi (Ryoko Hirosue). By Japanese tradition, Yumi comes of age on her 20th birthday, and Hubert must be her guardian until then. Followed by shady Japanese Yakuza, he puts together the pieces of the puzzle on what these thugs want with his daughter, and how his former love did not die of natural causes.
Although the plot doesn’t require much rocket science to figure out, it really shouldn’t. The first part of the movie sets up the story of Hubert’s life and mental state, the rest just takes you on the ride. At times it’s almost slapstick comedy. When Hubert punches people in the nose, “which (he) does quite often,” the people end up flying 20 feet in the air. The idea that Hubert chooses to conceal his fatherhood and his past from Yumi for the majority of the film works for classic laughs. He is, after all, a superb cop, cool under pressure, but a nervous wreck when faced with family responsibility.
We also have Momo, still in Japan after all these years, missing the good ol’ days of blowing stuff up, and desperately wishing that Hubert is back on some mission that will allow him to relive those days. Muller is perfectly cast as the comic sidekick. Very popular in Japanese TV dramas, Ryoko Hirosue does a great job here not being the annoying little girl that usually gets put in this role. In Wasabi she does a perfect performance as a French speaker, and her acting keeps up with international superstar Reno.
In most cases mixing Asian and Western languages, the dialogue always seems a bit off, but this film keeps it believable and never lets the pace flag. If you can believe that people in Japan speak better French than they do English, this movie works even better. Luc Besson presents a movie that isn’t as action-packed as you would expect from his other films, but a comedy that lacks those dry moments between scenes.
Unlike American culture clash movies, Wasabi really keeps the exploitation of differences to a minimum. Some puns here and there are well-placed, complementary to what is happening, as opposed to just being filler. The exception would be a scene at SEGA world. Just be aware of the Dance-Dance-Revolution craze, using the coolest cell phones every chance you get, and of course wasabi that will make your eyes tear.
Don’t expect Leon The Professional. Wasabi moves so easily, you hardly ever think of the plot at all until they remind you that there is one. French-made action/comedy flicks aren’t all that bad.
