A MODERN MASTER OF FILM: TAKESHI KITANO
Takeshi Kitano’s rise to fame in the world of film has been a strange one.
He originally found much success in his native Japan as a comedian, working alongside his friend Kiyoshi Kaneko to form a double-act known as “The Two Beats” [referring to their stage names, Beat Takeshi and Beat Kiyoshi respectively]. This form of duo comedy is known as manzai in Japan. However, when director Kinji Fukasaku dropped out of the comedy film Violent Cop, starring Kitano, Kitano joked that he would direct the film so it didn’t have to be shelved; bearing in mind that Kitano had absolutely no experience in making a film before this, outside of acting. Producer Hisao Nabeshima surprisingly took Kitano’s joke seriously and hired him to direct. Kitano mostly dropped the comedy elements, creating a gritty and violent cop/yakuza film. Thus began his now highly prolific career as a filmmaker, undoubtedly one of the most talented in the world; in which Kitano directs, writes, and edits almost all of his own films, and usually stars too.
Also notable is the partnership formed between Kitano and acclaimed Japanese composer, Joe Hisaishi. Hisaishi, whose real name is Mamoru Fujisawa, is most well known for his partnership with Studio Ghibli and Hayao Miyazaki. He has composed the scores for such widely-revered films as My Neighbour Totoro, Princess Mononoke, Spirited Away, and many more. It’s fascinating to hear his work with Kitano, given the stark differences between the films of each respective director. Nonetheless, throughout his 7 film collaboration with Kitano, he brings an ethereal, sentimental quality that only enhances the director’s own talents and body of work. Hisaishi and Kitano make you wish for a time you never experienced, or reflect upon your own journey and experiences on this Earth. Many of the films that shall be discussed here feature Joe Hisaishi’s music, and we’re sure you’ll find his compositions as enchanting here as they are in his Ghibli work.
Whilst Kitano’s name and works are not too well known outside of his native Japan, as well as film circles, his face likely is. Many whose childhoods were spent in the 1990’s-early 2000’s likely enjoyed reruns of the popular Japanese game show “Takeshi’s Castle”. The show was named after and sometimes presented by Takeshi Kitano, who featured as the daimyō [feudal lord] of the titular castle, and whose challenges contestants must brave through in order to face him in the final round. Furthermore, the aforementioned Kinji Fukusaku directed a little ol’ 2000 film called “Battle Royale”, which seems to be that one Japanese film that even non-film lovers have seen, or at least heard of, and which co-starred Kitano as the lonely, sadistic teacher who signs his former class up for the eponymous battle royale.
This article will take the reader on a journey through Kitano’s tremendous range; from his origins in the brutal yakuza genre to a return to his comedic roots. And to his more sensitive meditations on undying love, the meaning of family, youth, and finding that one thing that makes you truly happy.
Though Kitano has directed eighteen films total, the Sabukaru Team have chosen 10 of our favourites.
This article originally appeared on Broadly Specific. Through comprehensive and fresh analysis, Broadly Specific, like Sabukaru, seeks to attain and elucidate a deeper understanding of the various facets and outlets of artistic creation, past and present; both for itself and its readers.
Outrage [2010]
A more recent offering from Kitano, and a return to his cinematic roots in the brutal world of the yakuza. Outrage plays out like a sort of yakuza The Godfather, complete with double-crossings and backstabs from the various factions at play as they all aim for further power and status within the complex webs of the yakuza hierarchy. The title is almost tongue-in-cheek from Kitano, as the various yakuza factions all find brutal ways to one-up one another; becoming ‘outraged’ at the transgressions, which leads to further transgressions and further outrage. Thus, Kitano highlights the endless cycle of violence and destruction that permeates the Japanese underworld, an underworld that is supposed to be based on traditional codes of honour.
An amusing anecdote regarding this film, when giving a speech at the 30th-anniversary celebrations of the crowning of then-Emperor of Japan, Akihito; Kitano recalled a previous meeting in which the Emperor asked him how his filmmaking was going; the Emperor mentioned viewing one of Kitano’s films, but not which one. Fast forward to Kitano’s anniversary speech, and he joked that he had been worrying for 3 years now that the film of his which the Emperor had seen was Outrage; for everyone expects the Emperor and his family to watch “decent” films, and Outrage is one chock full of brutal violence and criminal dealings. This joke prompted a laugh from Akihito; but who knows if Kitano ever learned which film he had seen.
Getting Any? [1995]
Whilst Kitano is highly acclaimed in the film world for his mostly down to earth filmography, we previously mentioned that his career began in comedy, and he became a superstar through this avenue. Kitano himself is usually referred to by his stage name Beat Takeshi in Japan, for this is what everyone knows him for; more-so than his films. Kitano’s films are often punctuated by dark humour, but it was perhaps inevitable that Beat would return to his origins in full-force at some point. 1995’s Getting Any? is that film.
Getting Any? follows one man’s quest to get laid, but he’s not the brightest of individuals, and his ridiculous schemes drop him in increasingly bizarre situations; from buying a car to robbing a bank, joining the yakuza, and to taking part in some dodgy science experiments and much more; all in the desperate hope of “getting some”. The film is an almost never-ending reel of comedy gags and slapstick humour, and although it’s far from his best work, it won’t fail to entertain. Expect parodies of everything from cult film series Zatoichi [more on that in just a moment], to Ghostbusters, The Fly, and even Mothra and Kaiju films. Starring the hilarious Dankan who excels in his role as the desperate and dumb Asao, featuring a wonderful guest appearance from Kitano himself, as well as many of Kitano’s regular actors; don’t come into this one expecting a deep meditation on human lust; just sit back and prepare to watch some seriously silly stuff.
Zatoichi [2003]
The aforementioned Getting Any? contains a strange example of foreshadowing; a sequence in which our main character blags his way into starring in a new film in the much-beloved cult samurai series Zatoichi. How strange then, that 8 years later, Kitano would be hired to direct, co-edit and star in a revival of the very same series. Perhaps this is another case of producers taking Beat Takeshi’s jokes seriously.
Kitano plays the titular character, a blind swordsman who comes to the defence of a small town caught within a local yakuza gang war. Kitano himself has admitted that the film was not his own idea, and so he dropped his own distinct style in order to create a more marketable film, suitable for the local multiplex. Despite this, he still crafted one of the better chanbara films of the 2000s. In fact, if you’re new to samurai cinema, this is likely a good place to start before delving deeper into the quintessential masterpieces of the genre.
Kitano’s sole chanbara film thus far, it’s easily accessible for audiences new and old to the genre. There’s the classic “hero who saves the weak from the villains” structure, exciting action, likeable characters, and a healthy dose of humour. Zatoichi won’t reveal the director’s brutality or his prevailing sensitivity, but it intends instead to be a fun time sitting back, perhaps with some popcorn, watching this blockbuster.
Violent Cop [1989]
This is where it all started for Beat Takeshi, not where he was starting to be taken seriously, but his beginnings nonetheless. But don’t let that fool you, Kitano’s style, particularly in the yakuza genre, can be seen in its infancy here. What’s more, this is quite a solid debut.
Kitano directs and stars as Azuma, a rather violent cop, as the title suggests. Azuma comes into increasingly escalating conflicts with the local yakuza for various reasons, and he isn’t afraid to break every rule under the sun if it solves his problem.
This is a film full of twists; often with brutal and bloody results. Not a film for the more sensitive of souls, but it’s surely worthy of your attention if gangster and cop films are your thing. However, this film is mostly lacking in what Kitano would later come to excel in, even in his yakuza offerings; the quiet moments of contemplation and a deft hand in deconstructing genres. That’s not to say it isn’t there, it is, but it is clear to see that Kitano was very much new to this and still finding his feet as a director. Nonetheless, Kitano’s trademark dark humour is on display from the off; including a hilarious scene in which Azuma repeatedly slaps a drug dealer for information in the bathroom of a nightclub. To this day, you’d be hard-pressed to see someone repeatedly slap another person with more speed and ferocity than Kitano’s Detective Azuma.
Kids Return [1996]
Kids Return is an important one in retrospect. Made shortly after Kitano suffered a motorcycle crash which prompted rumours he might never work again. This coming-of-age film is about two dropouts as they search for direction and meaning in life. One becomes a boxer, the other joins the yakuza.
Perhaps influenced by his aforementioned crash, Kitano seems to use this film as a space to reflect. We’ve all been there, some of us still are, having no clue what to do with our lives. We try new things and hope they stick. We learn, we grow; some things work, some things don’t. The film even features the boys attempting manzai comedy, the very thing that made Beat Takeshi famous in the first place. Perhaps that crash really did give Kitano the perspective to consider his own life from a new, more mature angle.
The Sabukaru Team feel that this is a film we can all relate to, it’s about the confusion of youth; feeling lost and insignificant within a world much larger than ourselves. Ultimately, however, Kitano reminds us that no matter what point we are at, whether we have found our direction or are still searching for it, it will be alright in the end.
Sonatine [1993]
Now this is where people started to take note, not of Beat Takeshi the comedian, but of Takeshi Kitano the director, writer, editor and actor. Sonatine, alongside Hana-bi, is one of his most famous films. It follows the yakuza Murakawa [played by Kitano] as he and some of his men are sent to Okinawa to resolve a violent dispute between two warring yakuza factions.
Whilst this film has its share of bloody violence, the director’s great skill in using violence in highly effective short flashes of brutality, rather than excessive freedom, comes to the fore. Much of Sonatine is instead spent following the yakuza as they attempt to pass time in Okinawa, throwing pretend sumo matches on the beach and just generally messing around. Kitano deftly deconstructs the yakuza genre, choosing instead to come at it from an existential angle; Murakawa seems to feel weary of the life he leads, he wonders what the point of it all even is. This is not a gangster film concerned with the achievement and inherent corruption of power and violence, but rather, a question about why we are even attracted to such lifestyles in the first place.
The film features many of Kitano’s regular actors, most notably Susumu Terajima and the late Ren Osugi, whom you will find in many of the films being discussed here.
Kikujiro [1999]
Kikujiro stars Kitano as Masao, a yakuza past his prime who becomes the unlikely companion to the titular boy as they travel across Japan to reunite the lad with his mother, whom he never met. There is little in the way of darkness here, instead the film portrays a heartwarming and whimsical road-trip of personal growth and relationships, not only between Masao and Kikujiro, but also the lively cast of characters they meet on their way.
Kikujiro explores the bonds of family, not only of those we’re blood-related to, but also of those whom we choose. As Masao has clearly declined in his macho yakuza character, he grows as a pseudo-parent and guardian; learning the importance of childhood innocence and the necessity of protecting it.
The film has a magical quality [helped by Hisaishi’s score], and if we were to change the setting to something more fantastical, we might easily call the story a fairy tale. Expect to laugh along the duo’s wonderful journey, and perhaps cry too.
Dolls [2002]
The director’s most artistic film to date, and no doubt his most visually beautiful. Dolls is so-called after a Japanese form of puppet theatre known as bunraku; a performance of which opens and closes the film.
Using this puppeteering motif, Kitano weaves three tales of undying love. Dolls is patient, dramatic, and highly stylised much like the aforementioned bunraku itself. The vibrant seasons of Japan, something so integral to Japanese culture, changes to reflect the journeys of our on-screen lovers and lost souls.
Our characters move from one stage of their lives to the next, almost as though an invisible hand is holding their strings, weaving their tales in a way that they don’t realise is not in their control. A typical western mindset might find this thought existentially dreadful, but this doesn’t seem to be Kitano’s intention. Rather, the course of our lives is neither benevolent nor malevolent; it simply is, and it is nothing to fear.
Hana-bi [1997]
Kitano’s most famed film also happens to be one of his very best. The story of police officer Nishi [played by Kitano], a violent cop who resolves to rob a bank in order to fund his dying wife’s medical treatment, as well as to support the painting hobby of his paralyzed ex-partner on the force; the only thing that now brings him any solace.
In the hands of another director, this could easily have been another by-the-numbers heist thriller, but Kitano rejects that; using harsh violence only in flashes; and instead devoting much thought to the transience of life. Nishi takes his wife on one last holiday through Japan, doing all he can to make her laugh and be joyful; all whilst pursued by yakuza whom he owes money to. During one sequence, Nishi’s ex-police partner ponders upon the blooming cherry blossoms, a flower that is breathtaking in its beauty, yet only blooms for 2 weeks. Likewise, Kitano ponders upon the profound beauty, yet fragility, of life itself.
A Scene at the Sea [1991]
Some may regard this film as the most criminally underrated of Kitano’s filmography, A Scene at the Sea follows a young deaf man, Shigeru, who discovers a surfboard during his shift as a garbage collector and begins to dream of surfing on the sea. The boy is taught by an ex-surfing legend and lovingly supported by a girl[friend?], Takako, who is also completely deaf.
A Scene at the Sea is the first of the Kitano/Hisashi collaboration, and the most subtle of all Beat Takeshi’s work. The film is not only about finding that one thing that makes you truly happy, but also a tale of love between two kindred souls, romantic or otherwise.
The film is unsurprisingly light on dialogue; and despite our main characters’ deafness; very little sign language is used too. Emotion is instead conveyed through perhaps the purest means; the glint of the eyes, a tear rolling down the cheek, a knowing smile.
Kitano flourishes with the quiet grace of Ozu, as he achieves so much feeling with so little plot, and those feelings are difficult to put into words. Whilst their styles differ greatly, fans of that particular master auteur of cinema will no doubt notice that the film takes place in Atami, the same place that the grandparents of Ozu’s 1953 masterpiece Tokyo Story visit for a spa retreat. The sea wall that the elderly couple sits upon in one of Story’s most famous shots makes an appearance in Kitano’s film repeatedly; a clear nod to the great director, whose own body of work most likely inspired this one.
The film almost feels like a beautiful memory, accentuated by Hisaishi’s nostalgic score. Time passes and relationships come and go, much like the waves of the ocean.
Takeshi Kitano’s Legacy
Kitano’s importance both within Japan and overseas cannot be understated, he has both cemented a legacy as one of Japan’s national treasures through his various comedic and filmic work, whilst providing a gateway into the world of Japanese cinema for those outside of the country. Kitano has kept the Japanese people laughing throughout his career as a comedian, whilst adding to their already-rich oeuvre of film tradition. Those overseas have been granted easier access to Japan’s film and media, whether it be through Takeshi’s Castle, Battle Royale, or Kitano’s own directorial efforts.
In doing so, he has opened up a potential path for the interested viewer to delve further into Japan’s culture. Whether it be the manzai tradition of comedy after gaining an appreciation of Kitano himself, an interest in the samurai film-genre through Zatoichi, an interest in the yakuza film-genre through various of his films, or perhaps even Japanese bunraku puppetry through Dolls. Kitano’s legacy is, and will continue to be, one of a modern film-master, a side-splittingly funny comedian, and ultimately, a Japanese national treasure.
About the Author:
Dominic Holm is a lover of all things Japanese. Originally being shown films by Yasuijirō Ozu, Masaki Kobayashi and Akira Kurosawa in film class has spiralled into a passion for everything from Japanese history to art, music to video games, Japanese language, tradition to modernity and more. He hopes his writing can help others to discover and share the culture he loves.
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