His technical approach is cold and restrained and character development is irrelevant for the violence is not cathartic but simply obligatory (though the vehemence of the various methods employed to accomplish this end is often startling). Kitano is certainly cynical of the yakuza idea of honour and, in this film, practically to the point of parody. Said plot is, suffice it to say, a chaotic spiral of betrayal through the food chain of the syndicate. Reportedly, Kitano began writing the screenplay by detailing the deaths of various characters and filling in a plot around it. Rampant with double-crosses and a marathon of a body count, none of the characters emerge entirely unscathed.īetween all of this is digressions into yakuza politics depicted in procedural fashion: ties are formed and broken, retaliation, revenge, and reciprocation, repeat. This offering from Kitano’s later career is also one of his most gruesome (which is a tall order).
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