Praise to the man acquainted me with the works of Japanese Director and Seijun Suzuki film “Tokyo Vagabond”.
For me, films about the Yakuza are of great interest, but not write anything new: Tokyo Drifter the most unusual example of the genre “of the Yakuza EIGA”. The film is an interesting story: company Nikkatsu, unhappy with the creative approach to shooting Suzuki (elements of absurdism and surrealism ambiguously perceived in the audience), all sorts of ways forced the Maestro to work in a way that pleases the Studio. But Seijun was a real rebel. After “Tokyo Wanderer” Nikkatsu deprived the Director the ability to shoot movies with color film, but this doesn’t stop him. Forties film master of “Born to kill” comes out in black and white format, and the degree of the unique style of the Director goes through all the frames.
So this is the story of a murderer, not a very happy man with his wife-whore. In the plot of the film, there is a “top list” killers of the Yakuza where the main character occupies the third place, and the identity of the first unknown. It is called invisible, and Goro Hanada (the name of the protagonist) finds that he does not exist. The first half of the film is about the routine work of the killer number 3 is to bring in the big guns, fill up unwanted mafia (especially memorable was the murder of a surgeon-ophthalmologist, who with his bare hands pulls the eye and inserts a new). Throughout the series the main character meets a frankly kripotou a woman named Misako, one of the first phrases of which was: “I want to die.” Misako prepares a task for Handy, the murder of a foreign observer. Go into the peripeteia criminal background I’m not for the interest of the reader. In General, something goes wrong and now the killer is number 3 becomes the target of violence by other assassins.
The film is frankly frightening (to me) scenes, such as facial expression Misako standing in the pouring rain and silently demanding, or rather begging of his own death. The actress, who plays a depressed ladies are incredibly charming, sexy and attractive. Same goes for Mariko Agave in the film his wife Hanadi. The second act of the film is filled with surrealism, manifested in hallucinations of the protagonist, plans of the operator and the Director (for example, a beautiful scene with the butterflies on the wall behind the killer), as well as worries and doubts of Handy. “You can’t kill until you sleep with me,” says Misako, and her cold gaze during sex if not suggestive of horror, so just makes skin crawl.
The picture is great. After her Seijun Suzuki will not work in the movie 10 years, will begin a long trial with a company Nikkatsu, and the recognition of the Director come much after. At the end add: if “Tokyo Outlander” this is some absurd tale, here’s “Born to kill” can be put in a row with some “lost Highway” Lynch. By the way, this is one of my favorite movies of Nicolas winding Refn and I understand why.
8 out of 10.