Inspired by the true story of Japanese sailors stranded on a deserted island during World War II, Anatahan (1953) was the final film completed by Josef von Sternberg. In a career where he was increasingly forced to compromise his style and sensibility, it marked his final hurrah: a film over which he had complete control.
After a prologue on a Japanese ship bombed by an American plane, the film takes place almost entirely on Anatahan, a former plantation island in the South Pacific that is now completely overrun by the tropical jungle. The twelve survivors, a mix of sailors and soldiers, find the old plantation and a couple who stayed behind when the rest of the island population either enlisted or was evacuated. “We were to be here for seven long years,” reports the narrator (Sternberg himself), speaking in a tone of recollection and reflection long after the fact. (There is no effort to assign the narration to an individual character; it could very well stand in as the guilty conscience of the survivors.) As they await their rescue, their discipline breaks down and their desire for Keiko (Akemi Negishi), the lone woman in the society of men, stirs them to aggression and murder, which becomes easier when they find and scavenge the remains of a downed fighter plane, including a pair of handguns. “There was no law on our island, no police,” observes the narrator. “Only two pistols.”
Takeshi Kitano has a way of making stillness into tension in his crime films.
In the opening shot of Violent Cop, Kitano’s 1990 directorial debut, the camera holds on the smiling face of a toothless derelict. Like a pebble dropping into a pond the calm is shattered when a soccer ball knocks his dinner from his hand and a swarm of teens rushes him. The violence erupts out of nowhere as they relentlessly beat and kick him, and as the homeless man lies dead on the ground the feckless kids hop on their bikes and nonchalantly peddle away as if leaving the playground.
Into this cruel, uncaring world strolls Azuma (Takeshi), the police detective who earns the film its title many times over. In his first scene he beats a suspect, one of the teenage boys, in the kid’s own room. Azuma has a reputation for making up his own rules and he maintains a precarious position in the department that looks away as the lone wolf gets results at the price of unbridled police brutality. “Behave yourself for a year while I’m chief,” demands his new superior. He looks on like he hasn’t heard a thing, and before long he’s back to his usual tricks, running down suspects, beating drug dealers, planting evidence, even slugging a pimp standing in the stationhouse hall. Once in a while he cracks a smile, but mostly he wears a deadpan mask. Kitano has an amazing face, calm and bemused, at times almost blank, with big teddy bear eyes and soft features that suggest a gentle nature denied in his every action. Even when the battle becomes personal and the hair-trigger cop goes on his rogue rampage, he maintains that serenity, hardening just a bit, his crook of smile straightening out to a taut determination, perhaps suggesting a touch of bitterness and sadness.
Takeshi Kitano, better known by his nickname “Beat” Takeshi in Japan, rose to fame as a stand-up comic and remains one of Japan’s most popular TV personalities (he’s been known to host or star in as many as four TV shows simultaneously). His background helps explain how he can transform bullying bastards into such likable characters, but it doesn’t account for the fully realized style. Kitano stepped in as director of Violent Cop at the last minute and leapt out of the gate with a powerful, fully developed style. He boldly sketches shots with a seemingly simple directness and stages visceral action scenes with a mesmerizing impassivity: the camera locks down and watches the war zone erupt. And for a director of so-called action films, Takeshi’s cinema is full of static images and long digressions, intermissions from the blood sport. When the inevitable clashes recur, the sudden shots of brutality carry a startling kick to them.
Takeshi’s second film, Boiling Point (1990), carries this stylistic idea even farther. The story concerns passive gas station attendant and baseball team benchwarmer Masaki (Masahiko Ono) whose one moment of action is a badly timed attack on a rude customer who just happens to be Yakuza. When the gangsters start taking it out on both his co-workers and his teammates, Masaki sets out to buy a gun and take care of the problem. Takeshi is even more oblique in his presentation of violent action and spends the middle of the film on a strange, rambling subplot involving a disgraced mobster (Takeshi again, this time in a supporting role as a fun loving brute with a penchant for rape) and his mission of revenge. The narrative almost dissolves in abstractions and digressions before the startling conclusion, but it remains a compellingly warped look at the uniquely Japanese culture of violence.
Violent Cop is a classic Japanese gangster tale shaped it into Kitano’s unmistakably warped reflection of cops and criminals culture with startling style and his charismatic presence, and is easily the bigger audience pleaser. Boiling Point isn’t as compelling but is in some ways more challenging and inventive. In these films he completely transformed the genre screenplay, a cops and gangsters tale of corruption and revenge, into a jaundiced, cynical vision.
Both are newly mastered for their respective Blu-ray debuts and new DVD editions. The initial DVD releases from the old Fox Lorber label fifteen years ago were pretty bad: soft, noisy, with interlaced video, and not mastered for widescreen TVs (no 16×9 option). These new discs are remastered in HD and are a marked improvement. They are sharper and feature greater detail and none of the video noise of the DVDs. The color, however, is a little weak and the image still a bit soft, likely due to the source materials.
Violent Cop includes the 20-minute featurette “That Man Is Dangerous: The Birth of Takeshi Kitano” and trailers. Boiling Point also includes the 20-minute featurette “Okinawa Days: Takeshi’s Second Debut” and the trailer. Both are in Japanese with removable subtitles and come with a booklet featuring an essay by Tom Vick.
The explosion of Japanese gangster films in the 1960s was the great genre freakout of the era, and the rest of the world missed out on it for decades. While films by Kurosawa andKobayashi and Naruse played film festivals and art cinemas, and those by Oshima andImamura drove the Japanese New Wave, the domestic industry was turning out samurai movies and erotic dramas—which spawned the even more disreputable “pink films”—and colorful, high-energy gangster films. Where the samurai movie as a type had some cachet and international exposure, thanks to a decades-long history and a sense of being “the Japanese western,” the gangster movie was modern, urban, and immediate—a pop-culture response to economic anxiety and youth culture. At first these films failed to break out of the Asian market, either as arthouse curiosities or commercial genre artifacts. They were practically unknown in the west until the stateside “rediscovery” of Seijun Suzuki in the 1990s led fans to further exploration in the genre.
Nikkatsu, Japan’s oldest film studio, was the home of the nation’s wildest crime dramas and gangster thrillers of the sixties. They were shot quickly and cheaply, cast from a stock company of actors who would become genre icons (Jo Shishido, Testsuya Watari, Akira Kobayashi), and driven by the energy and anxiety and nihilism of the “sun tribe” genre of youth-gone-wild movies—Japan’s answer to the teen-rebel drama—that also proliferated in sixties. No one at Nikkatsu topped the insanely prolific Seijun Suzuki.
Jellyfish Eyes (Criterion, Blu-ray, DVD), the debut feature from visual artist Takashi Murakami, is a fantasy of childhood innocence and fantastical creatures come to life as Pokemon-like playmates. It’s also a strange conspiracy involving a cult of young researchers in a post-Fukushima world applying an alchemy of science and magic to a transporter device linked to an alternate reality.
Masashi (Takuto Sueoka), the young son of a widowed mother (still trapped in her mourning), moves to the idyllic little town next to an ominous, secretive research lab. He’s practically adopted by a flying creature that looks like a mushroom crossed with a jellyfish and turned into a rubber doll you might win from a carnival game, right around the time he starts having nightmares of his father, the tsunami that took his life, and jellyfish. Then Masashi discovers that every kid in town has their own creature, which they explain are called F.R.I.E.N.D.s and controled with the help of a handheld device. The boys send their F.R.I.E.N.D.s into battle in arena-like matches, much to the outrage of a shy girl (Himeka Asami) with giant sheepdog of a F.R.I.E.N.D. who hates the bullying culture that this violence inspires.
It’s an odd choice for a feature debut by an internationally renowned visual artist, a commercial science fiction adventure fantasy about a child who, after the loss of his father, finds comfort in the friendship with a fantastical creature with unconditional love and protective loyalty. It channels E.T., Pokemon culture, Godzilla, secret societies, imaginary playmates, and H.P. Lovecraft, and Murakami maintains a goofy innocence throughout, even as the cute little creature comedy becomes a giant monster movie as the cabal of wizard-like scientists use the kids as guinea pigs to siphon “negative energy” (anger, sadness, and especially aggression) to power their master plan. In a sense, they are scientists as vampires, feeding off the children they have hooked on their tiny monster mash culture, while the gadget-addicted kids ignore the endless possibilities in front of them to obsessively replay those battles.
There is plenty of gentle satire here—from game culture to merchandising to high school cliques and bullying to religion (there’s a particularly unnerving cult that believes the lab to be evil incarnate and tries to pray it away)—but no real teeth to the message or edge to the presentation. That lightness makes it fine for children but doesn’t serve the drama, which has the depth and dimension of a video game. The kids are a flavorless bunch, the adults have even less personality, and conflicts are resolved in a flash of generosity and a rousing call to unity. It’s as if it can’t decide if it is a parody of juvenile anime and game fantasy or simply a knowing, idealistically upbeat pop-art incarnation of it. Which makes this warped reflection of Japanese pop culture a strangely fascinating artifact but not a particularly compelling piece of storytelling.
In Japanese with English subtitles on Blu-ray and DVD with two original featurettes, created for Criterion from behind-the-scenes and production footage shot for the Japanese release, explore the making of the film: “Takashi Murakami: The Art of Film,” a 39-minute documentary that follows the production from the announcement of Murakami tackling his first feature through shooting to release, and “Making F.R.I.E.N.D.S.,” a 15-minute piece on the design and creation of the film’s creatures. Also features a new interview with Murakami and a trailer for the upcoming sequel. All supplements in Japanese with English subtitles. The accompanying foldout insert features an essay by critic and film professor Glen Helfand.
Tokyo Tribe (XLrator, Blu-ray, DVD) – Sion Sono, now emerging as Japan’s new cinema wildman rebel, seems determined to become the new Miike Takashi. His films are increasingly outrageous, unhinged, extreme, and unpredictable, pushing expectations as well as boundaries, and trying anything and everything in a wildly creative (if unfocused) attempt to refresh familiar genres.
Tokyo Tribe, adapted from a graphic novel series, is a comic book gang war thriller in an alternate future, part Blade Runner, part Escape From New York, part The Warriors, part Miike Takashi gangland freak show, part all hip-hopera musical on a studio soundstage like a golden age Hollywood musical. It opens with a long take and a traveling camera that follows our narrator up and down a long studio street as he raps the exposition—the Tokyo of the near future is divided into districts run by different gangs in a wary state of détente—the film never leaves the insular atmosphere or the perpetual night of the studio-created city, and it never stops moving or rapping.
We jump through the main gangs with a quick introduction and get a thumbnail idea of the style of each fashion statement (each gang has its own, often elaborate tribal look, sort of like sports uniforms in the glam league). Then we come to Lord Buppa, the insatiable, possibly cannibalistic leader (he keeps severed human fingers in his cigar box) of a Yakuza-like organization who decides to wipe out the rest of the gangs and take over all of Tokyo for himself. He’s played by Riki Takeuchi, star of Miike’s Dead or Alive films, so we know he’s absolutely committed to extreme bloodshed, though instead of Miike’s trademark sadism and creatively explicit gore, Sono indulges in purely gratuitous nudity, foul language, schoolgirls in underwear, Takeuchi engaged in (non-explicit but still disgusting) masturbation, and constant sexual threats to young women. You know, like an adult manga with a juvenile attitude.
Among the victims is a giggly group of teenage girls scooped up Lord Buppa’s henchmen to fill in his ranks of sex workers (at least those who are not handed over to Buppa’s son to serve as his living furniture). There’s also a beat-boxing personal servant, a pair of kung-fu siblings, references to Scarface, Bruce Lee, and Kill Bill, and the most literal use of penis envy as motivation I’ve ever seen in a film. Packed with incident and movement and color, it’s a big, busy mess that is more overwhelming than thrilling or engaging, but you’ll see things you’ve never seen in American gang war movies and you won’t have a moment to catch your breath.
In Japanese with English subtitles, no supplements.