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
Posts mit dem Label Takeshi Kitano werden angezeigt. Alle Posts anzeigen
Posts mit dem Label Takeshi Kitano werden angezeigt. Alle Posts anzeigen
Mittwoch, 12. Dezember 2007
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
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