Production: Daiei
Color / Length: Color, 103 minutes
Director: Takashi Miike
Actors: Teah, Michelle Reis, Patricia Manterola, Ren Osugi
This one is among Miike’s more accessible films, though not exactly his best. Anyway, it is a rather enjoyable trip to the land of crime melodrama in its extreme.
Miike starts with a slow, Western-like prologue, which explodes into a gunfight and thus introduces the main character, a tough Brazilian named Mario (Teah). A man, who is good with weapons and shows no mercy with his enemies.
Then we are introduced to the main story in breathtaking speed as Mario practically jumps from a toilet seat (which has a sub machine gun concealed it) to a helicopter, then attacks a prisoner bus with people to be deported from Japan; his beloved Chinese beauty Kei (Michelle Reis) among them. Soon after the reunited lovers soar to the clouds using the helicopter again and the whole episode ends with them literally falling from the skies and landing (of course) unharmed.
But there’s no slowing down as Mario and Kei start to deal with many problems represented by the shadiest types, Tokyo, according to the film, is full of. Deportation is just one of the difficulties the lovers have to face. More dangerous to their health are: Fushimi (Koji Kikkawa), a young Yakuza struggling for power, Ko (Mitsuhiro Oikawa), a Triad leader hungry for control and enlarging his territories, last but not least is Lucia (Patricia Manterola), Mario’s ex who hasn’t forgotten that he dumped her for Kei. In addition to the main characters, there are some interesting side-characters like the sneaky Russian Kholodoski (Anatoli Krasnov) or the wise cracking Tokyo cops, who prefer to watch the going-ons instead of participating or even stopping them. In a chain reaction of relentless bloodshed most of the stories characters are killed within a short time. Ko is killed by Fushimi, Fushimi in turn dies in a gunfight with Mario. But there’s no happy end waiting at the end of the day for Mario and Kei, if there is something even more dangerous than the Yakuza or the Triads, than it is a jealous woman.
“The city of lost souls” is easy to watch. It moves in a fast pace, the action sequences are quite professionally staged (the gunfights have many references to classic Westerns, especially the one between Mario and Fushimi) and even Miike’s trademark eccentrities don’t seem irrelevant to the story.
The already famous cockfights filmed in Matrix-like manner spring to mind or the announcer from the Brazilian radio network in Tokyo who comments the confrontation like a football match (that’s soccer for non-euopeans).
But they’re only superficial highlights that are quickly forgotten. It seems Miike wanted to play with all kinds of stereotypes and clichés – genre, nationality, you name it. But because of stereotypes being what they are everything seems predictable and not very original, no matter how hard Miike tries. Mostly he succeeds in creating an atmosphere of Tokyo as a melting pot of more mixed races and more craziness than every city you’ve heard of, but he fails in creating anything more than a mood.
The characters are too familiar: greedy and ruthless young gangsters, passionate lovers ready to die for their love, jealous and crazy ex-girlfriends and shrewd cops. Maybe some irony would’ve helped (for once) but the actors play it straight through out the movie. Patricia Manterola does try to create something different with her role, but ultimately she fails as well. The overall result is a superficial load of stereotypes played expertly, while it could’ve been an ironic masterpiece.
“City” is a movie with national stereotypes galore. I wont comment on those connected with Chinese (like, of course, Ko meets Fushimi for the showdown behind a ping pong table), more on those familiar to westerners (nurtured on popular American films or Brazilian soap operas). We have once again a vodka guzzling, sneaky Russian with a surname no Slavic person would be able to pronounce (even for an unpatriotic Russian like yours truly it’s not funny anymore). But things are even worth with the Brazilians. What we all know about Brazilians is: Men play football and do “capoeira” stuff, women are always stunning beauties and dead jealous. Whatever Miike wanted to do with those stereotypes, it didn’t work and they are just repetitions of characters we’ve already seen a thousand times.
I guess Brazil would have to be beaten by some European squad in the world cup finals several times, before Brazilians will be associated with something else. But I guess it will stick to them forever, like Vodka drinking will always be a cliché stamped on every Russian male.
Secondly… According to many films and series the plight of Brazilian women is really hard. In so many films they spend most of the time doing life important activities like looking great and wearing as less clothes as possible only to find out, that their men are either hitting the ball (instead of working) or hitting on foreign girls (instead of “eating” at home). Seems they have the moral rights to show those guys what the wrong side of a gun is made for. The stereotyped that’s put on brazilian women is the hardest one to believe. Seriously, if I were in a company of a lady with the looks of Patricia Manterola, I’d be too busy to think of somebody else. But I’m not Brazilian, and we are talking about films, not real life. So, I have to stick to vodka and before downing my first glass I won’t forget to give this movie 3 Kitanos.
Guest Reviewer: Ivan Denisov
3 Kitanos
Mittwoch, 12. Dezember 2007
Blue Spring (2001)
Production: Kiss Films
Color / Length: Color, 83 minutes
Director: Toshiaki Toyoda
Actors: Ryuhei Matsuda, Hirofumi Arai, Sousuke, Takaoka, Yusuke Oshiba
Director Toshiaki Toyoda who brought us „Pornostar“ delivers a second masterpiece in cool nihilism – Blue Spring. Similar to Pornostar theres a cool Guitar Rock Score underlining the scenes when there is a point to make. The movie follows a band of misfits making their way through High School or rather… not making it through. Kujo is the seemingly detatched Boss, but it only is his ability of being the best in a game where the one who claps his hands the most, whilst hanging from a rooftop fence, that he had come so far. His Childhood chum Aoki expects something to happen, but Kujo doesent really care about his status, though he does defend it against others. He rather watches the going-ons, never really emotionally involved. Aoki, who is being pushed around by others, breaks with Kujo, when Kujo tells Aoki that he cant always rely on him helping him out with his problems. This leads to fatal consequences. The movie focuses on Kujo and Aoki, but there are some other characters, that do get the time to unfold. Hori and Ghost are two tragic/sad cases, that don’t manage it through High School alive or unbuttered. Then there is the midget Gardening Teacher who watches the boys and tries to give advice… advice that comes to late for Kujo, as he learns, that friendship is a precious thing, that one should cherish. A movie that practically only takes place on the High School grounds, a microcosmos on its own, with its rules and laws. Some striking set-pieces, magnificent actors and a Punk-Rock Score, that I’ll have to find on CD sometime, make this film worth watching. The downbeat overall feel and the missing of action (there is some, but its never really shown onscreen) could make this one a tough cookie for those who expect Volcano High or similar fare from Blue Spring. As a Part of “Youth in Peril watched by the Yakuza” I’ll give it...
4 Kitanos
Color / Length: Color, 83 minutes
Director: Toshiaki Toyoda
Actors: Ryuhei Matsuda, Hirofumi Arai, Sousuke, Takaoka, Yusuke Oshiba
Director Toshiaki Toyoda who brought us „Pornostar“ delivers a second masterpiece in cool nihilism – Blue Spring. Similar to Pornostar theres a cool Guitar Rock Score underlining the scenes when there is a point to make. The movie follows a band of misfits making their way through High School or rather… not making it through. Kujo is the seemingly detatched Boss, but it only is his ability of being the best in a game where the one who claps his hands the most, whilst hanging from a rooftop fence, that he had come so far. His Childhood chum Aoki expects something to happen, but Kujo doesent really care about his status, though he does defend it against others. He rather watches the going-ons, never really emotionally involved. Aoki, who is being pushed around by others, breaks with Kujo, when Kujo tells Aoki that he cant always rely on him helping him out with his problems. This leads to fatal consequences. The movie focuses on Kujo and Aoki, but there are some other characters, that do get the time to unfold. Hori and Ghost are two tragic/sad cases, that don’t manage it through High School alive or unbuttered. Then there is the midget Gardening Teacher who watches the boys and tries to give advice… advice that comes to late for Kujo, as he learns, that friendship is a precious thing, that one should cherish. A movie that practically only takes place on the High School grounds, a microcosmos on its own, with its rules and laws. Some striking set-pieces, magnificent actors and a Punk-Rock Score, that I’ll have to find on CD sometime, make this film worth watching. The downbeat overall feel and the missing of action (there is some, but its never really shown onscreen) could make this one a tough cookie for those who expect Volcano High or similar fare from Blue Spring. As a Part of “Youth in Peril watched by the Yakuza” I’ll give it...
4 Kitanos
Brother (2000)
Production: Bandai Visual
Color / Length: Color, 114 minutes
Director: Takeshi Kitano
Actors: Takeshi Kitano, Omar Epps, Claude Maki, Masaya Kato
It took a second viewing, but the second time around it suddenly dawned on me; „Brother“ is Takeshi Kitano’s answer to „Black Rain“. O.k., it’s not so obvious and most likely I’m wrong with my thesis, but it would fit Kitano’s wicked sense of humour well, wouldn’t it? In „Black Rain“ an American Cop goes to Japan and teaches the Japanese Cop (played by none other than Ken Takakura) how to handle criminals. In „Brother“ Takeshi Kitano flees to the USA and teaches the American how to be a real Gangster. „You wanna teach us how to be cops, I’ll teach you how to be Gangsters!“. Could be, couldn’t it?
Anyway.
Though there is an overall believe that Kitano solely made modern Yakuza-Movies, „Brother“ is actually only his second real Yakuza-Eiga. The only other real one is „Sonatine“. „Violent Cop“ and „Hana-Bi“ are basically Cop-Dramas (I’m using this term only because I can’t think of a better one...). And if the two aforementioned Movies are Cop-Dramas, „Boiling Point“ would be a Loser-Drama. There are Yakuzas in all 3 (Non-Yakuza-Eiga) Movies and it’s Kitano’s special depiction of them, that gives the impression they just as well could be Yakuza-Eigas, which, by the way, is the reason why we feature them on our site. What all of Kitano’s Movies do have in common, and „Brother“ makes no exception, is his rather slow build-up that suddenly shifts gear and explodes into short flashes of violence, as well as his dry sense of humour, which is a love it or hate it thing. I for one like his humour. „Brother“ has plenty of these Kitano trademarks, too many for some it seems, as there was much written about self-plagiarism in connection with „Brother“. But then again, what is a trademark? It’s a theme or style that is used in a repeating manner. Kitano is a Moviemaker who again and again has shown his will to experiment in the field of Movie-language (“Dolls”, “Zatoichi”), so I don’t believe it would be fair, calling him a One-Trick-Pony.
In “Brother” Kitano plays Yamamoto an Underboss an elderly Oyabun, who is in war with a rival fraction. When the Oyabun is killed while visiting his girlfriend, the Gumi falls apart and the rival Gang vows to take in all members if they are willing to disband the Gumi officially. The other Underbosses agree to this, while Kitano isn’t thinking of joining the other Gang. Because of his unwillingness to keep quiet, the Boss of the rival Gumi orders Kitanos former Gangbrother to kill him. Still bound in loyalty to him he instead makes it possible for Kitano to flee to America and sets-up a false execution.
When Kitano arrives in America he at first seems a little bit lost, seemingly speaking not one word of English and not being accustomed to the American way of life, practically giving $100 tips to anybody who crosses his way. While looking for his much younger Half-Brother Ken (Claude Maki) he crosses the path of a young Thug (Omar Epps), who tries to trick him out of $200 but instead gets his eye stabbed by a rather pissed off Kitano. As it later turns out the Thug is Denny, a friend of Kitanos younger Brother. Denny, Ken and two other Buddies live from small-time drug dealing, but they get into trouble with their Mexican supplier when Kitano beats him to pulp after some ridiculous demands on higher Profit shares.
When the supplier wants to retaliate, Kitano wipes out the whole Gang without a blink of the eye. The Turf is free for Kitano and his wide-eyed small-time crooks. Not enough, he takes on the whole Mexican Drug Connection and within a Year has control over a big Part of LA’s drug market. When his former Lieutenant Kato (Kitano regular Susumu Terajima) turns up in LA, it looks like the good old times are back for Kitano. That is until another Japanese Gang, led by the sly Shirase (Masaya Kato) gets in their way and it looks like war. But ultimately it’s the Mob who sends Kitano’s Gang into a Spiral of Death. A fate, that some face with macho-heroism, some with an air of fatigue, while others are simply afraid.
Though “Brother” has its share of stilted, wooden acting (Claude Maki being the worst offender) and an absolutely stupid ending (Omar Epps monologue) it’s a very enjoyable romp. The interaction between Kitano and Epps is usually fun to watch, especially during their gambling scenes. The jokes about the different ethnics sometimes are too broad, but at other times are hilarious poignant (the Michael Jordan dispute…). Dialogues aren’t Kitano’s strength, this becomes evident during some talk-heavy scenes, but he’s still a master of the unspoken emotion. Scenes like the one where Kitano and his former Lieutenant Kato throw paper-planes from a rooftop seem unnecessary or even stupid to some, but in the end they say much more about the relationship of those two men than any dialogue could. “Brother” features some of the finest contemporary Actors (Ryo Ishibashi, Ren Osugi, Masaya Kato) and even a cameo by one of the Icons of Yakuza-Eiga (Tetsuya Watari) and that alone should be reason to watch this movie. If you like Takeshi Kitanos other Yakuza-related Movies you’ll love “Brother”, if you don’t, then you’ll loathe it. I belong to the first group and that’s why it’s 4 out of 5 Kitanos for Kitano.
4 Kitanos
Color / Length: Color, 114 minutes
Director: Takeshi Kitano
Actors: Takeshi Kitano, Omar Epps, Claude Maki, Masaya Kato
It took a second viewing, but the second time around it suddenly dawned on me; „Brother“ is Takeshi Kitano’s answer to „Black Rain“. O.k., it’s not so obvious and most likely I’m wrong with my thesis, but it would fit Kitano’s wicked sense of humour well, wouldn’t it? In „Black Rain“ an American Cop goes to Japan and teaches the Japanese Cop (played by none other than Ken Takakura) how to handle criminals. In „Brother“ Takeshi Kitano flees to the USA and teaches the American how to be a real Gangster. „You wanna teach us how to be cops, I’ll teach you how to be Gangsters!“. Could be, couldn’t it?
Anyway.
Though there is an overall believe that Kitano solely made modern Yakuza-Movies, „Brother“ is actually only his second real Yakuza-Eiga. The only other real one is „Sonatine“. „Violent Cop“ and „Hana-Bi“ are basically Cop-Dramas (I’m using this term only because I can’t think of a better one...). And if the two aforementioned Movies are Cop-Dramas, „Boiling Point“ would be a Loser-Drama. There are Yakuzas in all 3 (Non-Yakuza-Eiga) Movies and it’s Kitano’s special depiction of them, that gives the impression they just as well could be Yakuza-Eigas, which, by the way, is the reason why we feature them on our site. What all of Kitano’s Movies do have in common, and „Brother“ makes no exception, is his rather slow build-up that suddenly shifts gear and explodes into short flashes of violence, as well as his dry sense of humour, which is a love it or hate it thing. I for one like his humour. „Brother“ has plenty of these Kitano trademarks, too many for some it seems, as there was much written about self-plagiarism in connection with „Brother“. But then again, what is a trademark? It’s a theme or style that is used in a repeating manner. Kitano is a Moviemaker who again and again has shown his will to experiment in the field of Movie-language (“Dolls”, “Zatoichi”), so I don’t believe it would be fair, calling him a One-Trick-Pony.
In “Brother” Kitano plays Yamamoto an Underboss an elderly Oyabun, who is in war with a rival fraction. When the Oyabun is killed while visiting his girlfriend, the Gumi falls apart and the rival Gang vows to take in all members if they are willing to disband the Gumi officially. The other Underbosses agree to this, while Kitano isn’t thinking of joining the other Gang. Because of his unwillingness to keep quiet, the Boss of the rival Gumi orders Kitanos former Gangbrother to kill him. Still bound in loyalty to him he instead makes it possible for Kitano to flee to America and sets-up a false execution.
When Kitano arrives in America he at first seems a little bit lost, seemingly speaking not one word of English and not being accustomed to the American way of life, practically giving $100 tips to anybody who crosses his way. While looking for his much younger Half-Brother Ken (Claude Maki) he crosses the path of a young Thug (Omar Epps), who tries to trick him out of $200 but instead gets his eye stabbed by a rather pissed off Kitano. As it later turns out the Thug is Denny, a friend of Kitanos younger Brother. Denny, Ken and two other Buddies live from small-time drug dealing, but they get into trouble with their Mexican supplier when Kitano beats him to pulp after some ridiculous demands on higher Profit shares.
When the supplier wants to retaliate, Kitano wipes out the whole Gang without a blink of the eye. The Turf is free for Kitano and his wide-eyed small-time crooks. Not enough, he takes on the whole Mexican Drug Connection and within a Year has control over a big Part of LA’s drug market. When his former Lieutenant Kato (Kitano regular Susumu Terajima) turns up in LA, it looks like the good old times are back for Kitano. That is until another Japanese Gang, led by the sly Shirase (Masaya Kato) gets in their way and it looks like war. But ultimately it’s the Mob who sends Kitano’s Gang into a Spiral of Death. A fate, that some face with macho-heroism, some with an air of fatigue, while others are simply afraid.
Though “Brother” has its share of stilted, wooden acting (Claude Maki being the worst offender) and an absolutely stupid ending (Omar Epps monologue) it’s a very enjoyable romp. The interaction between Kitano and Epps is usually fun to watch, especially during their gambling scenes. The jokes about the different ethnics sometimes are too broad, but at other times are hilarious poignant (the Michael Jordan dispute…). Dialogues aren’t Kitano’s strength, this becomes evident during some talk-heavy scenes, but he’s still a master of the unspoken emotion. Scenes like the one where Kitano and his former Lieutenant Kato throw paper-planes from a rooftop seem unnecessary or even stupid to some, but in the end they say much more about the relationship of those two men than any dialogue could. “Brother” features some of the finest contemporary Actors (Ryo Ishibashi, Ren Osugi, Masaya Kato) and even a cameo by one of the Icons of Yakuza-Eiga (Tetsuya Watari) and that alone should be reason to watch this movie. If you like Takeshi Kitanos other Yakuza-related Movies you’ll love “Brother”, if you don’t, then you’ll loathe it. I belong to the first group and that’s why it’s 4 out of 5 Kitanos for Kitano.
4 Kitanos
Branded to Kill (1967)
Production: Nikkatsu
Color / Length: b/w, 91 minutes
Director: Seijun Suzuki
Actors: Joe Shishido, Mariko Ogawa, Annu Mari, Koji Nanbara
Huh? What was that? I wasn’t really looking forward to this movie, after the disappointment that Tokyo Drifter was (see separate review). So I wasn’t really prepared for what was coming my way. After having seen Branded to Kill I wonder why people consider this to be similar to Tokyo Drifter. No way! Though it shares the same quirky approach to Yakuza-Eiga, Suzuki obviously isn’t interested in the classic formula of the genre; it is a baby of a different kind.
Branded to Kill definitely is majorly influenced by the New Wave of French Cinema, but it takes it’s styles (and mannerisms) to other heights. Beautifully shot, this must be one of the best photographed b/w movies I’ve ever seen. The lightning, the sets, the mood – absolutely magnificent! And Suzuki doesn’t shy away from some pretty cool shoot-out scenes (the one at the seaside is awesome, with some ideas that shame many movies with ten times higher budgets, even nowadays). Mostly they aren’t played out totally serious, but even I who usually like my Yakuza-Eiga straight faced couldn’t be anything else but overwhelmed.
The high amount of nude flesh visible in the movie probably would surprise many a viewer, considering the movie was made in 1967. But the Japanese Film industry never was too coy as long as you didn’t see pubic hair or genitalia. As for the Actors... Jo Shishido is something to be seen. Though he at first looks ridiculous with his hamster-cheekbones, he comes over pretty cool. Not in his role, but as an actor. I guess it needed a lot of chutzpah to go along with Suzukis way of filming. Annu Mari however is a beauty very similar to Meiko Kaji (a bigger nose...), with her mysterious role she fits into a long line of fascinating femme fatales. Well, that is until you see her bandaged up like a mummy...
What about the story then? Not much, though it isn’t all bollocks. Killer No 3 (Jo Shishido) fails to hit a foreign business man because of a Butterfly which landed on his rifle. His nympho Girlfriend tries to kill him and he flees to the Woman who ordered the kill (Annu Mari). A woman with a taste for Butterflies, dead birds and some bad suicidal tendencies. But she gets captured, tortured and seemingly killed. Something No 3 can’t take, so he goes of to face Killer No 1 the mysterious Best of them all Killers. But who is No 1, is Misako still alive and will No 3 manage to become the new No 1????
Not really a Yakuza-Eiga as we all know it, but a wonderful movie!
5 Kitanos
Color / Length: b/w, 91 minutes
Director: Seijun Suzuki
Actors: Joe Shishido, Mariko Ogawa, Annu Mari, Koji Nanbara
Huh? What was that? I wasn’t really looking forward to this movie, after the disappointment that Tokyo Drifter was (see separate review). So I wasn’t really prepared for what was coming my way. After having seen Branded to Kill I wonder why people consider this to be similar to Tokyo Drifter. No way! Though it shares the same quirky approach to Yakuza-Eiga, Suzuki obviously isn’t interested in the classic formula of the genre; it is a baby of a different kind.
Branded to Kill definitely is majorly influenced by the New Wave of French Cinema, but it takes it’s styles (and mannerisms) to other heights. Beautifully shot, this must be one of the best photographed b/w movies I’ve ever seen. The lightning, the sets, the mood – absolutely magnificent! And Suzuki doesn’t shy away from some pretty cool shoot-out scenes (the one at the seaside is awesome, with some ideas that shame many movies with ten times higher budgets, even nowadays). Mostly they aren’t played out totally serious, but even I who usually like my Yakuza-Eiga straight faced couldn’t be anything else but overwhelmed.
The high amount of nude flesh visible in the movie probably would surprise many a viewer, considering the movie was made in 1967. But the Japanese Film industry never was too coy as long as you didn’t see pubic hair or genitalia. As for the Actors... Jo Shishido is something to be seen. Though he at first looks ridiculous with his hamster-cheekbones, he comes over pretty cool. Not in his role, but as an actor. I guess it needed a lot of chutzpah to go along with Suzukis way of filming. Annu Mari however is a beauty very similar to Meiko Kaji (a bigger nose...), with her mysterious role she fits into a long line of fascinating femme fatales. Well, that is until you see her bandaged up like a mummy...
What about the story then? Not much, though it isn’t all bollocks. Killer No 3 (Jo Shishido) fails to hit a foreign business man because of a Butterfly which landed on his rifle. His nympho Girlfriend tries to kill him and he flees to the Woman who ordered the kill (Annu Mari). A woman with a taste for Butterflies, dead birds and some bad suicidal tendencies. But she gets captured, tortured and seemingly killed. Something No 3 can’t take, so he goes of to face Killer No 1 the mysterious Best of them all Killers. But who is No 1, is Misako still alive and will No 3 manage to become the new No 1????
Not really a Yakuza-Eiga as we all know it, but a wonderful movie!
5 Kitanos
Boiling Point aka 3 x 4 Juugatsu (1990)
Production: Shochiku-Fuji / Bandai
Color / Length: Color, 98 minutes
Director: Takeshi Kitano
Actors: Masahiko Ono, Yuriko Ishida, Takahito Iguchi, Minoru Iizuk, Takeshi Kitano
Boiling Point is an early entry into the Yakuza-Eiga genre of Takeshi Kitano. Kitano wrote, directed and starred in this film as he does many others. Many of the “Kitano” traits in the film are prevalent to his later works, specifically Sonatine. Violence is displayed without remorse or aggression, just something that happens and needs to be done, like getting gas for your car or cooking a hot dog. Also, those strange comedic occurrences between violent acts are continuous through the later part of the film, usually at someone else’s expense. Always a goodtime for “What the F***?!” and laughs. Unlike other Kitano movies, he is not the focal character in Boiling Point, although when he does appear on screen, he brings the most memorable and exciting moments of the script to the audience.
The ballpark story: Iguchi (Gadarokanaru Taka) is a baseball coach for a junior league baseball team. He is an ex-Yakuza. Although a straight citizen now, he still harbors the attitude and character of someone in the underworld. Masaki (Yurei Yanaji), an unmotivated slacker and his chums Kuzuo (Danken) and Akira (Makoto Ashikawa) play on Iguchi’s baseball team. Masaki also works at a gas station and while half-ass attending a Yakuza’s car, gets into a fight with him. The yakuza fakes injury and his Otomo Group wants payment as compensation. Iguchi used to belong to the Otomo group and tries to mediate for his young teammate. As a result, Iguchi beats up Muto (Bengal) of Otomo for disrespecting him. In retaliation, the Otomo group corners Iguchi and gives him a beating. Afterward, Iguchi plans a trip to Okinawa to buy a gun for revenge.
In his stead, Masaki and Kuzuo decide to go to Okinawa to obtain the weapon. When they arrive they meet a local Yakuza named Uehara (Kitano) and his buddy, Tamagi (Katsuo Tokashiki). Uehara is an uncontrollable yakuza that attacks at the drop of a hat. He is in bad standing with his own organization and has to repent by chopping off a little limb (which he doesn’t do). While with Uehara and his cohorts, Masaki and Kuzuo are propelled into many bizarre scenarios, such as: beatings, shootings, sex, dismemberments, homosexual advances and many awkward situations. They are the Tokyo bumpkins of the Okinawa underworld.
Soon enough, the charades end tragically and the boys are sent back to Tokyo with their new toys. Their well thought out plan of revenge takes a turn for the worse and Kuzuo and Akira are beaten badly while Masaki flees. Shamed by his selfish act, Masaki initiates a final explosive attack on the Otomo group.
My two-cents:What the hell are “Butterfly Eggs”? Anyway, this was solid early entry in the Kitano filmography. Those fan boys of his later films will certainly enjoy Boiling Point and can appreciate his style and methods commonly seen in his works. Make no mistake though; this is not one of his better flicks. Although, I’d say it was definitely in the top 5 of Kitano films (like No. 5). My only complaint was that Kitano didn’t show up on screen until 45 minutes into the movie. Also, does anyone else think that Kitano might be a little light in the loafers? Not that it bothers me, to each his own, but there seems to be an awful lot of fancy-boy awkward moments in many films in which he appears (ie. Gonin, Kikojiru, Boiling Point…). Anyway…sissy-boy or not, Kitano still cranks out a very satisfying Yakuza movie, like a snickers bar for the appetite. There’s enough violence and laughs to make us all piss ourselves for an hour and a half. If you’re an a-hole fan like I am, just buy the damn DVD. A stepping-stone flick that most Asian film dorks (like myself) will appreciate.
Guest Reviewer: Steven McVey
3 1/2 Kitanos
Color / Length: Color, 98 minutes
Director: Takeshi Kitano
Actors: Masahiko Ono, Yuriko Ishida, Takahito Iguchi, Minoru Iizuk, Takeshi Kitano
Boiling Point is an early entry into the Yakuza-Eiga genre of Takeshi Kitano. Kitano wrote, directed and starred in this film as he does many others. Many of the “Kitano” traits in the film are prevalent to his later works, specifically Sonatine. Violence is displayed without remorse or aggression, just something that happens and needs to be done, like getting gas for your car or cooking a hot dog. Also, those strange comedic occurrences between violent acts are continuous through the later part of the film, usually at someone else’s expense. Always a goodtime for “What the F***?!” and laughs. Unlike other Kitano movies, he is not the focal character in Boiling Point, although when he does appear on screen, he brings the most memorable and exciting moments of the script to the audience.
The ballpark story: Iguchi (Gadarokanaru Taka) is a baseball coach for a junior league baseball team. He is an ex-Yakuza. Although a straight citizen now, he still harbors the attitude and character of someone in the underworld. Masaki (Yurei Yanaji), an unmotivated slacker and his chums Kuzuo (Danken) and Akira (Makoto Ashikawa) play on Iguchi’s baseball team. Masaki also works at a gas station and while half-ass attending a Yakuza’s car, gets into a fight with him. The yakuza fakes injury and his Otomo Group wants payment as compensation. Iguchi used to belong to the Otomo group and tries to mediate for his young teammate. As a result, Iguchi beats up Muto (Bengal) of Otomo for disrespecting him. In retaliation, the Otomo group corners Iguchi and gives him a beating. Afterward, Iguchi plans a trip to Okinawa to buy a gun for revenge.
In his stead, Masaki and Kuzuo decide to go to Okinawa to obtain the weapon. When they arrive they meet a local Yakuza named Uehara (Kitano) and his buddy, Tamagi (Katsuo Tokashiki). Uehara is an uncontrollable yakuza that attacks at the drop of a hat. He is in bad standing with his own organization and has to repent by chopping off a little limb (which he doesn’t do). While with Uehara and his cohorts, Masaki and Kuzuo are propelled into many bizarre scenarios, such as: beatings, shootings, sex, dismemberments, homosexual advances and many awkward situations. They are the Tokyo bumpkins of the Okinawa underworld.
Soon enough, the charades end tragically and the boys are sent back to Tokyo with their new toys. Their well thought out plan of revenge takes a turn for the worse and Kuzuo and Akira are beaten badly while Masaki flees. Shamed by his selfish act, Masaki initiates a final explosive attack on the Otomo group.
My two-cents:What the hell are “Butterfly Eggs”? Anyway, this was solid early entry in the Kitano filmography. Those fan boys of his later films will certainly enjoy Boiling Point and can appreciate his style and methods commonly seen in his works. Make no mistake though; this is not one of his better flicks. Although, I’d say it was definitely in the top 5 of Kitano films (like No. 5). My only complaint was that Kitano didn’t show up on screen until 45 minutes into the movie. Also, does anyone else think that Kitano might be a little light in the loafers? Not that it bothers me, to each his own, but there seems to be an awful lot of fancy-boy awkward moments in many films in which he appears (ie. Gonin, Kikojiru, Boiling Point…). Anyway…sissy-boy or not, Kitano still cranks out a very satisfying Yakuza movie, like a snickers bar for the appetite. There’s enough violence and laughs to make us all piss ourselves for an hour and a half. If you’re an a-hole fan like I am, just buy the damn DVD. A stepping-stone flick that most Asian film dorks (like myself) will appreciate.
Guest Reviewer: Steven McVey
3 1/2 Kitanos
Dienstag, 11. Dezember 2007
Bloody Territories (1969) - Schällis Review
Production: Nikkatsu
Color / Length: Color, 88 minutes
Director: Yasuharu Hasebe
Actors: Akira Kobayashi, Tatsuya Fuji, Ryoji Hayama, Yuriko Hime
Whilst „Bloody Territories“ may not be one of the greatest Yakuza-Eigas of the sixties, it is a good example what Yakuza-Eiga was all about in the midstage of the Yakuza-Boom. Though in 1969 Toei had already begun to change their storylines from the more classic Ninkyo-Eiga into something more gritty and cynical (Modern Yakuza or Gokudo for example) it still would be another three or four years before the screen would be soaked by the blood of the nihilistic frenzy that the Yakuza-Eiga of the early and mid-Seventies would bring.
But back in 1969 Nikkatsu had only pushed up the sleaze level higher than it’s big rival Toei, otherwise their Yakuza-Eigas were rather formulaic. But thats a big part of the fun watching the sixties Yakuza-Eigas. Knowing that the deep sense of honor will ultimately lead to revenge and death. And in that context, mixed with the before mentioned high amount of sleaze, „Bloody Territories“ is a winner. The plot is the standard bad capitalist Yakuza (who wants everything) against the good old school Yakuza (who is willing to share) (capitalism vs. socialism...hmmm, I’ve never really noticed that subtext). Friendship, loyalty and honor are being tested by the new rules of the modern times.
„Bloody Territories“ may start out a little slow, but it kicks up the gears when the good Yakuzas get cornered and have to react. And with regular Yakuza-Eiga-Actors like Akira Kobayashi, Tatsuya Fuji and Yoshi Kato there’s always a high level of coolness involved, that makes you grab for the shades and a bottle of beer.
4 Kitanos
Color / Length: Color, 88 minutes
Director: Yasuharu Hasebe
Actors: Akira Kobayashi, Tatsuya Fuji, Ryoji Hayama, Yuriko Hime
Whilst „Bloody Territories“ may not be one of the greatest Yakuza-Eigas of the sixties, it is a good example what Yakuza-Eiga was all about in the midstage of the Yakuza-Boom. Though in 1969 Toei had already begun to change their storylines from the more classic Ninkyo-Eiga into something more gritty and cynical (Modern Yakuza or Gokudo for example) it still would be another three or four years before the screen would be soaked by the blood of the nihilistic frenzy that the Yakuza-Eiga of the early and mid-Seventies would bring.
But back in 1969 Nikkatsu had only pushed up the sleaze level higher than it’s big rival Toei, otherwise their Yakuza-Eigas were rather formulaic. But thats a big part of the fun watching the sixties Yakuza-Eigas. Knowing that the deep sense of honor will ultimately lead to revenge and death. And in that context, mixed with the before mentioned high amount of sleaze, „Bloody Territories“ is a winner. The plot is the standard bad capitalist Yakuza (who wants everything) against the good old school Yakuza (who is willing to share) (capitalism vs. socialism...hmmm, I’ve never really noticed that subtext). Friendship, loyalty and honor are being tested by the new rules of the modern times.
„Bloody Territories“ may start out a little slow, but it kicks up the gears when the good Yakuzas get cornered and have to react. And with regular Yakuza-Eiga-Actors like Akira Kobayashi, Tatsuya Fuji and Yoshi Kato there’s always a high level of coolness involved, that makes you grab for the shades and a bottle of beer.
4 Kitanos
Bloody Territories (1969) - McVey Review
Production: Nikkatsu
Color / Length: Color, 88 minutes
Director: Yasuharu Hasebe
Actors: Akira Kobayashi, Tatsuya Fuji, Ryoji Hayama, Yuriko Hime
This was a difficult movie for me to review. So far, most (not all) of my yakuza-eiga experience has been flooded with Kinji Fukasaku, Takeshi Kitano and Takashi Miike movies. So these are the viewing standards I had to compare this film to. Which is a very high standard and really isn’t fair.
The Story (in a nutshell): The movie stars Akira Kobayashi (Akira Tanake in Battles w/o H&H 3/4) as Yuji Otatke, a mid-level yakuza. There are other familiar faces, but I can’t put a name to them. Anyway, the Sakura Association is disbanding and all the clan bosses have agreed to it. All except Mr.Ogani (which is Yuji’s boss). When the others disband, the Kansai Association starts to muscle in on Ogani Clan territory and some fighting ignites. The remnants of the disbanded Sakura Association form a legit group called Kyowa. A mediator is called in to quell the forthcoming Ogani/Kansai war. After the ceremony, Mr. Ogani loses a ton of dough at a high stakes game that features other prominent heads. The deed to Ogani property & buildings were used as collateral, in order to save face in the high stakes game. Thus, Ogani’s property is taken from them and bought by the Kyowa Group. Yuji and Yato (second in command), come up with a scheme to net them big dollars to buy the property back, but Kyowa foils it. Jinno, brother of Kansai boss, wants the Ogani territory for himself. But the Kyowa, has promised the Kansai a large amount money (from Yuji’s deal) for it, which they accept. This all sets up a final confrontation with Kyowa, Yuji and Jinno.
My Opinion: This movie was sub-par. Judging from the title and DVD cover (everyone with a knife and blood covering a collage of characters) alone, I thought this was going to be a nonstop action packed kick ass film. Well, I was wrong. There wasn’t a single pistol used in this flick, everyone had knives (which isn’t bad), I’m expecting geysers of blood, slashing’s up the wahzoo, hacked limbs and a war torn Tokyo (Bloodless Territories?). No such luck. The only hacked limb was an off-screen pinky chop. And most of the blood that flowed was after the fact. Ok, I know you don’t need spurting blood for a good picture, but the story was bland and the action was out-right terrible. The action choreography was dreadfully slow and lacked any human response to the life or death struggles it tried to delivery. The style Hasebe uses (for this film) is very…boring (in my opinion of course – I haven’t seen his other films). Nothing fancy, no frantic camera movements (a la Fukasaku), no graphic fighting, and lackluster acting performances by all, just a “ho-hum” experience. The synopsis on the back of the DVD cover is quite exaggerated. I’d recommend watching it once, but not buying it. Don’t think this DVD will make it into my player to many times. I’ll stick with yakuza flicks from 1970 on.
Guest Reviewer: Steven McVey
2 Kitanos
Color / Length: Color, 88 minutes
Director: Yasuharu Hasebe
Actors: Akira Kobayashi, Tatsuya Fuji, Ryoji Hayama, Yuriko Hime
This was a difficult movie for me to review. So far, most (not all) of my yakuza-eiga experience has been flooded with Kinji Fukasaku, Takeshi Kitano and Takashi Miike movies. So these are the viewing standards I had to compare this film to. Which is a very high standard and really isn’t fair.
The Story (in a nutshell): The movie stars Akira Kobayashi (Akira Tanake in Battles w/o H&H 3/4) as Yuji Otatke, a mid-level yakuza. There are other familiar faces, but I can’t put a name to them. Anyway, the Sakura Association is disbanding and all the clan bosses have agreed to it. All except Mr.Ogani (which is Yuji’s boss). When the others disband, the Kansai Association starts to muscle in on Ogani Clan territory and some fighting ignites. The remnants of the disbanded Sakura Association form a legit group called Kyowa. A mediator is called in to quell the forthcoming Ogani/Kansai war. After the ceremony, Mr. Ogani loses a ton of dough at a high stakes game that features other prominent heads. The deed to Ogani property & buildings were used as collateral, in order to save face in the high stakes game. Thus, Ogani’s property is taken from them and bought by the Kyowa Group. Yuji and Yato (second in command), come up with a scheme to net them big dollars to buy the property back, but Kyowa foils it. Jinno, brother of Kansai boss, wants the Ogani territory for himself. But the Kyowa, has promised the Kansai a large amount money (from Yuji’s deal) for it, which they accept. This all sets up a final confrontation with Kyowa, Yuji and Jinno.
My Opinion: This movie was sub-par. Judging from the title and DVD cover (everyone with a knife and blood covering a collage of characters) alone, I thought this was going to be a nonstop action packed kick ass film. Well, I was wrong. There wasn’t a single pistol used in this flick, everyone had knives (which isn’t bad), I’m expecting geysers of blood, slashing’s up the wahzoo, hacked limbs and a war torn Tokyo (Bloodless Territories?). No such luck. The only hacked limb was an off-screen pinky chop. And most of the blood that flowed was after the fact. Ok, I know you don’t need spurting blood for a good picture, but the story was bland and the action was out-right terrible. The action choreography was dreadfully slow and lacked any human response to the life or death struggles it tried to delivery. The style Hasebe uses (for this film) is very…boring (in my opinion of course – I haven’t seen his other films). Nothing fancy, no frantic camera movements (a la Fukasaku), no graphic fighting, and lackluster acting performances by all, just a “ho-hum” experience. The synopsis on the back of the DVD cover is quite exaggerated. I’d recommend watching it once, but not buying it. Don’t think this DVD will make it into my player to many times. I’ll stick with yakuza flicks from 1970 on.
Guest Reviewer: Steven McVey
2 Kitanos
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