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