Dead or Alive: Final (2002)

Set in a future dystopia, “Dead or Alive: Final” is a speculative science-fiction involving replicants, totalitarian government and a nascent rebellion. Show Aikawa plays a replicant, imbued with powers of super-speed, able to catch bullets, and indestructible. He is taken in by a family who are fighting against the oppressive regime of a flamboyant dictator. The population are kept under control by being forced to take a pill that makes them infertile. It is suggested that procreation is no longer required in a world where replicants are prevalent. Riki Takeuchi plays a police officer who is attempting to root out and destroy the resistance fighters that threaten the dominance of the leader.

The third part of this trilogy is quite a departure from what has gone before. Being a future science-fiction it allows Takashi Miike to explore themes from a new perspective, by examining what a future Japan might look like. There is an international feel to the film, with Chinese and English spoken frequently alongside Japanese, in common with his previous work on the “Black Society Trilogy”. The idea of a population being kept in a state of oppression and forced to consume the birth control drug is a clear satire of Japan’s problems with population decline, subservience to government, and perhaps even the conservative values that typify modern society. A few of the elements may seem derivative, such as the idea of replicants, but there are definitely unique flourishes. The film is a little uneven in terms of the balance of comedy and drama. Usually, Miike is good at this, but here it is unclear what is parody and what is serious. This is partly due to the lack of money and resources to create an effective future world. The special effects are stretched to breaking point, especially towards the  end of the film. The ending is somewhat incomprehensible for another reason. It draws in scenes from the previous two “Dead or Alive” films that really have no place being here. While there are parallels between the films, sex, violence, crime, themes of childhood and fate, woven through each, and the main actors are the same, there is really little connecting them. It comes across as though the leads here are remembering past lives, but doesn’t provide the audience with enough to make any coherent point about the three films as a whole

There are some interesting ideas here, but a lot have been done before and better. The concept of replicants is raised though never fully addressed. This is exemplified in the scene where Riki Takeuchi discovers that his family are replicants. It should be a dramatic moment, but since the concept is only vaguely established in the world this revelation has little impact. The idea of a society struggling with a lack of reproduction, or the diminishment of the importance of sex and reproduction is likewise a fascinating avenue, but it seems the film always shies away from exploring anything in depth. Worth watching for a couple of standout scenes, and again capped with a bizarre, unforgettable ending, but doesn’t quite live up to the standard of the earlier films.

Dead or Alive 2: Birds (2000)

Two assassins meet unexpectedly when they are both contracted to kill the same man. After realising that they were actually childhood friends, they decide to escape from the city and return to the island where they were brought up, visiting a third friend who is now living there with his pregnant wife. After their respite the two decide to return to the metropolis and use their skills as professional killers to benefit orphans in the third world, by sending the money they make overseas. This soon brings them back into contact with the violent gangs they had previously escaped.

After the grotesque comedy of the first Dead or Alive film, this is a much more sedate affair. There is still puerile humour, sex, violence, and quirky storytelling with bizarre plot twists, but throughout is a strong central theme helped along by fantastic performances by Show Aikawa and Riki Takeuchi. The two actors this time play the assassins returning to their hometown, reliving former traumas and triumphs along with their old friend. Both are charismatic and it is good to see them getting more screen time together. The story meanders its way through their reminiscences and may not appeal to those fond of the more frenetic pace of the earlier film, but it does a much better job of creating likeable characters. Takashi Miike brings a visual flair and intelligence to the directing that keep things interesting. There are moments of pure cinema, such as when the characters sprout wings, one black, one white, or when we see feathers falling from nowhere after a murder, or when the characters transform into their childhood selves.

It may seem out of place to have a school play half-way through a film about hit-men, especially one that is juxtaposed with a sex scene and gangland murders in another part of the country, but it typifies what makes this movie great. By creating a powerful contrast between the placid life of the small island community with the horrors of inner-city crime we get a picture of divided characters, contract killers who still retain their basic humanity. The film is essentially about a loss of innocence as we see what these young boys have become, and their attempt to regain that through travelling back to their old town. The plot involving the two killers helping young children out with money through the proceeds of murder is a fairly pointed commentary on what is wrong with society, and done in a way that makes it seem like common sense (why not kill bad guys and give the money to helpless orphans?). It is great to see a film that has the confidence to tell its audience uncomfortable truths, while at the same time not being overly moralistic.

Crows Zero 2 (2009)

With the same cast and director as Crows Zero the style is consistent with the first film. This film introduces the Houzan gang, whom the Crows, following the murder of Houzan’s boss by an ex-student 2 years prior, are unwittingly drawn into war with. This time Selizawa and Genji must fight together against this new rival. There are also a few interesting new characters introduced.

The style is identical to the first, with the comedy and action set pieces expanded on. There is little to say about this film that couldn’t be said of the first. The new dynamic of a rival gang is exciting and the first half is fast paced with the usual blend of violence and humour. The second half is largely a single assault on the rival gang’s building. While the direction is fantastic and it’s broken up with memorable moments, it feels overdone at times.

Definitely worth watching if you enjoyed the first film as it rounds off the story with the boy’s graduating. A highly enjoyable comedy action film.

Based on a manga by Hiroshi Takahashi.

 

Crows Zero (2007)

Suzuran High School, violent and out of control, is occupied by factions formed among the students. New student Genji, backed by his uncle in the Yakuza, attempts to wrest control from the most powerful faction leader: Selizawa. the film has many comedic moments and a stylized design make it feel like a live-action manga should.

From the opening scene of a Yakuza gangster shooting a man, to the final rain drenched battle, the director strings together a number of powerful set pieces. The fight scenes are well-done, though gleefully cartoonish in the levels of violence. The rock soundtrack also gives the film drive. While it might easily have been a meaningless array of fights, the scenes between the two leads and Genji and his uncle help give an emotional edge to the film.

The characters are largely arrogant, impetuous high-school kids and the film to some extent glorifies fighting. The pugilistic lifestyle does however allow for reflections on the power of family, loyalty and honour. An exhausting but ultimately fulfilling experience.

Based on a manga by Hiroshi Takahashi.

 

Dead or Alive (1999)

deadoralive

The film’s opening sequence knocks you over the head with its rebellious attitude. Intercutting between a strip-show, cocaine snorting gangsters, a shoot-out, and an apparent suicide, are coming at you so thick and fast that it is overwhelming. Once the narrative proper starts there is a clear intent to shock, with bestiality porn shoots, a horrific death involving an enema, and several other alternately horrific and hilarious set-pieces. The central story involves a feud between gangster Ryuichi (Riki Takeuchi) and police detective Jojima (Show Aikawa), though it is hard to say that is what the film is truly about. Rather that rather staid plot is used as a canvas for director Takashi Miike to create a work that is troubling and humorous in equal measure.

Director Takashi Miike’s “Black Society Trilogy” established his reputation as a talented film-maker, with an exciting, politically conscious take on the Yakuza genre. With Dead or Alive, Miike again tackles many of the same issues, but there is something different in “Dead or Alive” a punk aesthetic that is typified in the extreme opening and closing sequences of the film. It almost feels as though Miike is attempting to sabotage his own work, although it might be politer to suggest he is creating a post-modernist masterpiece. There are a number of fantastic scenes here, building character and back story, and Takeuchi and Aikawa give incredible performances throughout. During the interrogation scene there is an almost unbearable tension between the two leads. Watching a Miike film you are aware that he is fully in control. If he wants you to feel panic, dread, to laugh or be shocked or even upset, he can, casually confounding your expectations throughout. The film is such an eclectic mix of slapstick and gross out humour wrapped around a core of serious crime drama that it shouldn’t work, but somehow it does. Miike almost seems to be suggesting that he could make a great Yakuza epic if he wanted, but is constantly distracted by some wild or hilarious idea with which to toy with the audience, or perhaps it is all a commentary on the film industry, or whatever else occurred to him that day.

Miike delights in taking well-worn stories about cops and gangsters and turning them on their heads. There is social commentary here, on crime, the treatment of women, immigration and more, but it feels as though the whole thing has been through a blender. It is a kaleidoscope of ludicrous over-the-top moments, sombre family drama and scatological humour. Obscene, bizarre, satirical, at times emotionally raw, it is a film that pulls no punches.

Hara-Kiri: Death of a Samurai (2011)

Hara Kiri Death of a Samurai
The age of the samurai is drawing to a close with many having fallen on hard times. For a struggling ronin there is a risky, but potentially profitable, gambit that might be attempted: approach a wealthy lord and request to commit ritual suicide in his presence. If all goes well the lord will decide to take you on, or at the very least give you some money and send you on your way, rather than see blood spilt in his hall. This so-called “suicide bluff” is what we see attempted in this film by the samurai Tsukumo Hanshiro. However, following his request to commit ritual disembowelment the guards inform him that another recently appeared there attempting the same thing, and rather than being offered money they had forced him to carry out his proposed course of action. We learn that Tsukumo was aware of this and in fact good friends with the young samurai, who is in fact his son-in-law. We then hear the sorry tale that led him to that juncture, taken in by Tsukumo after his own father perished, and married to his daughter with a young child. Through various circumstances he was driven to the rash course of action that ultimately ended in tragedy. Tsukumo is now here for his revenge.

Takashi Miike is usually known for outrageous spectacle, violence, and even extreme horror. With this film, a remake of the 1962 classic, he takes a much more restrained approach. The tone is sombre, the drama slowly revealed and delicately considered. There is a certain theatrical feel to proceedings, particularly the sequences in the lord’s palace. Everything is driven by dialogue rather than action and this could easily work as a stage play. In fact there are perhaps only two sequence of swordplay coming late in the film. The cinematography by Nobuyasu Kita is incredible, perfectly captures the period, the palaces, feudal era streets and homes. The score by Ryuichi Sakamoto is likewise a gorgeous accompaniment to the drama. There is a lot to recommend the film, both cinematography and music, fantastic acting and a stirring central plot. It is a little overlong and lacking in the sort of frenetic action you may expect in a samurai film. It takes its time, relishing each moment and scene, and it rewards patience.

The film features a great look at the code of honour prevalent in the feudal period. It may seem peculiar that anyone would think to attempt this “suicide bluff”, but it allows us a look at both the relationship and reaction to death of this harsher social climate. There are a few hints to a more biting satire here, such as the shots of a white cat perched atop a pillow in the noble palace starkly compared to the feline corpse lying in the dirt in the lower home of the ronin. This is a world where the caste system rules and the line between rich and poor is clearly drawn. It is also a film about duty, both to your family and superiors, and whether it is possible to be good in such a rigid hierarchy, asking what it means to be an honourable person in such a world.

13 Assassins (2010)

 

The sadistic lord Naritsugu tortures and terrifies his subjects with impunity. One of his retinue Sir Doi decides to attempt a coup by recruiting a band of assassins led by his friend Shinzaemon. As the king returns from Edo the assassins wait in a village along the route to block his path.

A simple fight against the odds tale against a merciless lord. The film never looks less than stunning, with stylistic framing and actions. The final fight scenes employ hand-held cinematography to great effect. The opening scenes of the lords cruelty highlight an unhinged villain and the camaraderie of the assassins is also well-done. Although this kind of story has been done numerous times Miike adds his trademark off-beat humour and sensibilities to it. Occasionally the film seems undecided on whether to be a straight-faced historical drama, or a tongue-in-cheek action film. However inconsistent it is it remains very entertaining.

The focus is largely on the plight of the assassins against the vicious Naritsugu. The lords privileged, out-of-touch take on the world is highlighted later in the film when he remarks how fun it must have been to live in feudal, war-torn, Japan. Meanwhile, the assassins are left to muse on their fates as they face almost certain death. A fun action film with a fair mix of comedy and tradgedy.