Chekhov¡¯s principle about how you can¡¯t introduce a gun in the first act of a story without using it later on might also apply to Toru (Nijiro Murakami).
When the university student impulsively snatches a pistol from a dead body he finds by a riverside in Tokyo, the unfulfilled potential of his new acquisition starts to nag at him. Why have a gun, after all, if you¡¯re not going to shoot it?
¡°The Gun¡± is adapted from the 2002 debut by novelist Fuminori Nakamura, but its story will feel familiar to anyone who has read ¡°Crime and Punishment¡± or the works of Albert Camus and Kobo Abe. While Masaharu Take¡¯s film doesn¡¯t belong in such exalted company, it¡¯s an engrossing portrait of obsession, with a rough, experimental feel that complements, rather than distracts from, the story.
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