Ken Watanabe Learned Kabuki to Star in ‘Kokuho,’ Japan’s Biggest Live-Action Hit Ever

When Lee Sang-il’s Kabuki drama “Kokuho” first played at Cannes, its veteran star Ken Watanabe, who plays the mentor to two rising onnagata in his Kabuki theater, had no idea the film would become the highest-grossing live-action movie ever in Japan. Its international total is over $122 million.

GKids will play the shortlisted Japanese Oscar submission in IMAX on January 21 before releasing it in Los Angeles and New York on February 6 and nationwide on February 20. The filmmakers debated whether to include an intermission, but decided against it.

“It’s a three-hour-long film about authentic Japanese culture,” said Watanabe in an interview at The London. “So I was a little bit nervous about how people might react, but I felt that it’s a pure film about artists who give everything they’ve got to their craft, and because of that, the audience also reacted in a straightforward way, beautifully, to that.”

The film soared in Japan partly due to repeat moviegoers. “This was a film that appealed to all generations, which is also a rare thing these days,” said Watanabe. “[From] young kids to the elderly, all went to the theaters and saw this film. And that was also something that made me most happy as a filmmaker in this business, because after the pandemic, it was rare that people go to see films. We’re so used to the smaller screens now, but they actually took the trouble to go and see it in theaters. So that makes me very happy.”

Ken Watanabe performs Kabuki in ‘Kokuho‘(C)SHUICHI YOSHIDA/ASP ©2025 “KOKUHO” Film Partners.

The lushly mounted production goes behind the scenes of the famed Kabuki theater, which pursues perfection in every movement. (The film was also Oscar-shortlisted for Makeup & Hairstyling.) “That is part of the appeal,” said Watanabe. “Kabuki itself in Japan in modern days is pretty unpopular, and so this film helped show both what is new about Kabuki and also the tradition of Kabuki. Kabuki is passed down from parent to child and to grandchild, and outside of that, there’s really no possibilities. My character Hanjiro is interested in the pursuit of art, so when he’s faced with the choice [who to cast in a key leading role], he chooses based on who is most talented. It’s a difficult choice to say, ‘Who can play this role?’ But he makes a simple decision, which also ends up being tragic. That’s what makes the storytelling so wonderful.”

Women are still not allowed to perform in the highly stylized art of Kabuki. “Men, women, is a totally separate style from gender, meaning its gender isn’t a problem,” said Watanabe. “It’s symbolic, and so it’s not just being beautiful, but it’s this specific style that’s pursued by the performer. And on the other side, there’s also Takarazuka, which is an entirely female theater troupe that plays all the main male roles as well. So that border between gender when expressing something as a Japanese person isn’t very important, actually. That fascinating aspect is part of the reason why it’s such a big box office hit in Japan.”

Ansel Elgort and Ken Watanabe in ‘Tokyo Vice’Courtesy of James Lisle / Max

Unlike most of the ensemble, Watanabe’s character does not assume a woman’s role onstage in Kabuki. Meanwhile, a broken leg in a cast prevented him from putting in the necessary training. Even so, the bewigged lion dance performance he gives as an old man required training for four and a half months for just a few movie minutes that took 14 hours to shoot in one day. “I asked the director, ‘Will a double cover the actor and play this dance?’ ‘No!'”

Not only is Watanabe the best-known star in Japan, but he has also starred in many big-budget Hollywood productions, from “Godzilla” and “Memoirs of a Geisha” to two Christopher Nolan films, “Batman Begins” and “Inception,” which have helped him burnish his English. Watanabe has the requisite skill set of a movie star: athletic chops (including martial arts), a powerful, magnetic presence, and the ability to be vulnerable.

During the filming of “The Last Samurai,” director Ed Zwick and co-star Tom Cruise relied on Watanabe’s samurai expertise, from movement and costumes to props. “I took my entire career that I had spent in Japan up until that time,” said Watanabe, “put it in a box and brought that with me to set. And that’s how I approached the entire film. And Tom and Ed both accepted that and were open to that.” He landed a Best Supporting Actor Oscar nomination for his muscular portrayal of Lord Katsumoto Moritsugu.

“The Last Samurai” was a cakewalk compared to “Letters from Iwo Jima,” Clint Eastwood’s recreation of the famous World War II battle. The director gave Watanabe the script and said, “This is a blueprint. Let’s create this together.”

‘The Last Samurai’©Warner Bros/Courtesy Everett Collection

“He gave me a lot of freedom, but freedom also means a lot of responsibility,” said Watanabe, who played General Tadamichi Kuribayashi. “I knew that I couldn’t get this historical film wrong. In fact, I knew if I got it wrong, I might not be able to go back to Japan. I felt that much responsibility. Clint put it together beautifully.”

More recently, Watanabe starred as an honest cop dealing with corruption who allies with a muckraking American journalist (Ansel Elgort) in lauded ’90s-set series “Tokyo Vice,” which ran for two seasons on HBO. “That series was set during the historically chaotic time in Japan, and it was a great snapshot of the complexity of society at the time,” said Watanabe. “I loved the script. The character was well-written, so I had a lot of fun acting with Ansel.”

One of Watanabe’s great feats took place on April 16, 2015, at the Broadway opening of the musical revival “The King and I.” It was Watanabe’s Broadway debut, and he had not been prepared for 36 previews. Exhausted and running a high fever, after several injections, Watanabe went on with the two-and-a-half-hour show after the producers told him they would shut it down if he didn’t. He doesn’t remember a thing.

“It’s an amazing experience. It’s crazy,” he said. The musical was a huge hit in New York, London, and Japan. And Watanabe landed a Tony nomination.

As far as Watanabe is concerned, at age 66, his greatest achievement is six grandchildren. He grins proudly.