One… Two… one, two, three, four… the Roaring column strip clubs, sounding in unison with the roar of a motorcycle. Crowds of people pour out on the night streets. Tokyo is drowning in fluorescent lamps. The police catches random suspects. Shooting in small eateries and caches in grocery stores. Drug ecstasy and sleepless routine adjacent to each other. Liters of blood like Chinese noodles. In all this confusion, one after another, committed a series of murders of members of the local Yakuza and the Chinese triads. Behind them neither a tiny theater troupe, nor a squad of Chinese immigrants or something else is not clear what the gang, which is headed by legendary crime boss Ryuichi. Then, literally in hot pursuit, he makes a RAID on an armored car, with the money of the syndicate, the Yakuza, Ryuichi plans gradually start to become clearer. Police on similar local disassembly becomes simply uncomfortable to close my eyes and for the investigation of all this ugliness takes a detective Yoshima with his partner. And is taken, it should be noted, quite thoroughly, with his usual composure. Between the police and the gangster begins to unfold a real guerrilla war with its victories and innocent victims. And when he reached the maximum point of the filament motives both on click, become deeply personal and invariably lead to the disruption of the world equilibrium and its destruction.
In fact, the entire trilogy of “dead or Alive” brings together what she’s like on stilts is built around two antipodes, characters CE Aikawa and Riki Takeuchi, wandering from movie to movie in different incarnations, but with the characters specified in this first part. Both are opposed to each other in the same situations, both soul mates, although one, the hero Aikawa more positive, and the other, the character Takeuchi more negative. Black and white, Yin and Yang, three free essays on the topic of complementarity of opposites and derivatives thereof.
It’s funny, but after a rapid exposure, the pace of the original film dies down and becomes calmer and more serious. With a whirlwind start, shown through the eyes of a criminal problem, the narrative jumps to the everyday point of view of a detective aoshima that almost from the start said everyday, but sujetapapeles to the nature of his character’s truth: “the Yakuza is a Yakuza. Murder is murder”. It is in this vein and will develop the vast majority of the film. It, of course, remain the elements of adventurism, emphasizing the irrationality of what is happening, and even satirical mockery of things happening around. But in General, such a pace will continue to stay until then, as long as the antagonist is not completely overthrow the detective with a sober view of things to my own absolutely foolish and childish attitude. It is in this moment and the final fracture occurs again returns to open at the beginning of the world through the eyes Ryuichi; only this time in addition to the perpetrator, who essentially had nothing to lose and nowhere to retreat, in the symmetrical position is Lieutenant yashima, becoming in the opposition corner on the map the last battle.
And so it goes, on the one hand, the film becomes quite shocking due to its own fancy, particles are deliberately grotesque crime city inside out, and on the other that, overall, the story paints a rather more thoughtful, though simple, detective story (sometimes quite tragic). This combination creates a very controversial finish. In fact, that here a sin to conceal, the very content of the film is quite unsuited, as if it was assembled together from different sets bricks “LEGO”. This creates not that frightening, but rather the effect of stiffness and unreliability of the entire arrayed structure. At some point, because of the abundance of the ideas of the film some of its parts just start to get lost, not knowing how else louder to assert themselves in the main sequence of events. And here comes the plot, which was initially more or less simple and uncomplicated. He gives space to all components and allows the film to crumble to pieces in a variety of additional strokes. And, it seems, due to the strong perception of such components simply cannot be left on the sidelines, and separated from long ago became homogeneous film language Miike turn of the century. And pribludova other components, such as contextuality, uniqueness, remoteblast and the grotesque, in General, seems to be a kind of inexplicable charisma of this example of a celluloid print. It is your visual appeal, along with Takami a narrow circle of admirers, and ensured the film a cult status.
“Dead or alive”, in fact, probably the most exemplary of the criminal work of Takashi Miike nineties. It is both as good and bad as his “Fudo”, “Wet dog”, “off limits” and the like. Absolutely another thing is that because of their creative development through trial and error of natural evolution subjected to internal content. It has become more Packed, backed, smooth, solid and natural was perceived by the audience. Subsequently, in the two thousandth, style and embarrassed expect will be much better, but at the time when finished “dead or Alive” was released, it remained still tangible charm artsy video tape of vulgarity, licentiousness, eroticism and outright violence. As for the aesthetic content, it meets all the requirements of a criminal direct-to-video films of that time cheap and cheerful. Craft mnogozadachnosti similar film opened to a huge field Director for various film experiments with one and all, and any failure simply written off from the accounts and forgotten. It’s fair to say that with the release of his “dead or Alive”, Miike has reached a new level of professionalism and adoration by the public. When, then, his movies began to look as exotic consumer goods, and began to flaunt well-honed techniques. A sacrificial abolishment of artistic means they completely ceased to be read negatively and started getting parts of speech and means of interpretation perpetrated on the screen.
We can say that the original “dead or Alive” has suddenly become a truly revealing film, giving a clear further epithets to the works of Miike. Subsequently, the Director will remove even more intricate projects, including also refined the second part of the series number under the name “Birds”. She will be a private imagem “summer vacation” ended years ago, and will Eclipse its predecessor. In her story the dominant role is played by the most dominant theme of contemporary creativity Miike, removing sploshnyakom about immigrants, hired murderers, and misfits of all stripes the theme of homecoming. She was through in the first film, where the characters, in the end, though uprooted, was left abandoned on the periphery of life and death. Strange, but probably it is in “the Birds” this long-running theme is fully exhausted, leaving room for a completely new stories in the works of Takashi Miike.