Kamikaze takushî

From the blurb on the box or the website where I ordered it from, I was mostly expecting KAMIKAZE TAXI to be little more than a festival of violent revenge - and I suppose the name of the film helped with that impression too. First indicator that there might be a little more than that was that it's from the director of BOUNCE KO GALS (Masato Harada), and the second was that it's nearly 3 hours long. The fact I now know that "Kamikaze" means something like "Wind Of God" perhaps shows that the film is a little more than a blood-fest. In fact it's a lot more, a film that spans genres and moods and philosophies and all sorts of things - quite a rare, meandering beast that calls to mind Shunji Iwai's SWALLOWTAIL BUTTERFLY in its scope and capacity for surprise. I was also reminded at various points of Takeshi Kitano's SONATINE, Takashi Miike's DEAD OR ALIVE 2, Shohei Imamura's UNAGI and Shinji Aoyama's EUREKA... tribute to the diversity and depth of the film (or perhaps the presence of actor Koji Yakushu for the latter 2 references :p).

The film begins in a pseudo-documentary style, commenting on the presence in Japan of people of Japanese descent but with foreign upbringing, and how they are not looked upon as "true Japanese" by many of those that presumably view themselves thus. It also makes references to Japan's less than noble involvement in World War II, and the fact that many in Japan are still in denial about it - including some of the politicians. It notes that these Japanese immigrants, politicians with a knack for denial and the numerous Yakuza in the country might not all cross each other's paths that often, but that this particular film revolves around a situation where they do.

Trying to explain the plot is probably counter-productive, but it has a bit of "take the money run", and when the running doesn't work out too well it has a bit of "kamikaze revenge mission" - but it's definitely not that straightforward. How many other films with those genre-staple premises would stop after some scenes and film interviews with the side-characters that took place in them, documentary style? (note that it's interviews with the characters, not the cast). The film makes a very strong effort to develop and explore its characters, even having them spend 20 minutes or so doing self-awareness exercises in a spa.

Like Shunji Iwai's SWALLOWTAIL BUTTERFLY, I picked up the film not expecting much of anything, and was quite astounded by how much I actually got from watching it. I'm therefore somewhat reluctant to sing its praises too highly in case other people pick it up on my recommendation then don't enjoy it for expecting too much. I'm sure not everyone is going to like it - it's

a very quirky, contemplative film whose chief virtue in my eyes is never being predictable in 169 minutes. It's *very* Japanese, and deals with many issues of Japanese culture that might not mean anything to people who aren't aware of them - so it's not one I'd pick to introduce anybody to Japanese cinema. But if you've seen and loved SWALLOWTAIL BUTTERFLY, and at least 2 or 3 of the other films I mention above, you should definitely be planning to pick KAMIKAZE TAXI up soon.

Of course, he is not quite there yet, but there is definitely potential. As a matter of fact, the director admits Wu's influence when I had the chance to meet with him.

I like this one more than his later movie, Bounce (Call Girls).

Definitely a director to watch out for!

Works Well on Many Levels

At first what attracted me to this film was its cool title - Kamikaze Taxi. While I expected an action-packed Yakuza movie, what I got was much, much more.

Corrupt politicians, dispossessed ethnic citizens, young Yakuza wannabees, action, killings, street life in modern Japan, reconciliation with Japan's involvement in WWII. There are many elements thrown together in this movie, and it does a good job dealing with them in a coherent story that will keep your interest for the length of the movie.

On the surface it is a story of a young Yakuza, Tatsuo, exacting revenge against a corrupt politician for beating up his girlfriend/prostitute who is later killed by a Yakuza shylock. Tatsuo and his other neophyte Yakuza buddies blunder into stealing a great deal of money from a crime boss. With the assistance of an ethnic Japanese taxi cab driver born in Peru, Tatsuo flees and attempts to avenge the killing of his girlfriend.

Social issues relevant to Japan at the time Kamikaze Taxi abound. In the early 1990s, Japan was rocked with corruption in high office, both in the mainland and abroad. In Peru an ethnic Japanese politician, Alberto Fugimori, was President, and he was plagued throughout his term and ultimately ousted by charges of corruption. These two events are alluded to in the movie.

The politician in this movie, Domon, is a survivor from WWII, a former Kamikaze fighter. Not only is he prejudiced, but he is also morally depraved, sadistic, and virulently chauvinistic. That prejudice is aimed as well to the taxi cab driver, who while ethnically Japanese, is looked upon as a second-class citizen. While practically unknown outside of the country, the issue of migrant Japanese citizens is a burning issue in Japan.

If there is a downside to the movie it is the numerous subplots and other twists and turns. There are many and they are diverse. To some, the sheer number of elements may drag the momentum of the action. Director Masato Harada (who played the character of Omura, the pro-West advisor to the Emperor of Japan in The Last Samurai) ties all these elements very well, however, which gel together quite nicely through most of the movie.

The movie jumps the shark a bit when Tatsuo and the taxi cab driver stumble into an encounter group session in a foothill retreat.

This is a minor defect. Harado finds a way to tie in this encounter group into the story line. Besides, this is not your average Yakuza film with disposable, one-dimensional characters. The actors play complex characters with depth in a well-written, thoughtful, sometimes contemplative, script.

This movie has the force of a Miike Yakuza movie, and displays flashes of craft and subtle humor enough to justify repeated viewings. Even at over two and a half hours you will not be dissatisfied.

It is the 1990's and Tatsuo is a low-level Yakuza. A charismatic Casanova, he is tasked with supplying Domon- a conservative misogynist politician- with prostitutes. After Domon brutalises two of his working girls, Tatsuo decides to rob him. The heist does not go down well, and Tatsuo barely escapes. With his boss Animaru hot on his tail, Tatsuo enlists Kantake- a Peruvian-Japanese taxi driver- as his chauffeur. Along with Tama, one of Tatsuo's working girls, the three take to the road; on the run with nowhere to go.

Written and directed by Masato Harada, 'Kamikaze Taxi' is an original, compelling film, both dramatic, comedic and engaging. Although on the surface a Tarantinoesque tale of revenge, it contains thematic depth, delving into the seedy underbelly of Japan, presenting a society grappling with the intersection of traditional values and the harsh realities of modern life. It also examines the struggles of marginalized individuals, namely Kantake, who faces poverty and prejudice upon returning to his homeland after decades in South America.

Harada poignantly portrays the identity struggles of immigrants like Kantake, who navigate the complexities of being in a society that regards them as outsiders. This theme is intricately woven into the storyline, highlighting the characters' search for meaning against a backdrop of societal indifference. Moreover, the movie critiques the deep-seated corruption within Japan's political and criminal landscapes, examining how power dynamics dictate morality and influence choices.

The road trip becomes a metaphor for the characters' existential journey, as they confront the socioeconomic disparities that shape their existence. Harada's narrative is a stark commentary on the dichotomy between Japan's wealthy elite and the marginalized working class; a compelling study of a society in flux. With the film, Harada has crafted a narrative that is as much about the personal odysseys of its characters as it is a critique of the societal structures they navigate. His characterisation is astute, his dialogue witty and his narrative engrossing.

It is also a visually evocative affair, containing striking visuals from cinematographer Yoshitaka Sakamoto, which complement the film's thematic complexity. He captures the neon-drenched streets and tranquil countryside with aplomb, creating a stark contrast that reflects the inner turmoil of the characters. His use of light and shadow, as well as dynamic camera angles, adds dramatic tension, making the visual narrative as engaging as its storyline.

The cinematography not only enhances the mood but also serves as a silent narrator, guiding the audience through the characters' emotional landscapes and the societal commentary woven throughout the film. In addition, editor Hirohide Abe's masterful work is pivotal, crafting a rhythmic cadence that echoes the film's emotive pulse. His meticulous scene transitions build suspense and deliver potent climaxes, keeping the audience riveted. Abe's adept timing and pacing elevate the film, making it an immersive narrative voyage.

Kazuya Takahashi stars as Tatsuo, alongside Koji Yakusho as Kantake, Reiko Kataoka as Tama and Mickey Curtis as Animaru. Takahashi embodies Tatsuo with a raw yet comedic intensity, capturing the desperate conflict of a man caught between worlds and ideals. Yakusho's Kantake is a study in stoicism, his nuanced portrayal of an immigrant's struggle lending proceedings a poignant gravity. With ease, his thoughtful, measured performance is both compelling and affecting. His presence on screen adds a profound weight to the film, captivating and moving the audience.

Kataoka is similarly understated, portraying Tama's resilience and depth subtly, adding a vital layer to the story. Curtis's performance as the saxophone playing, swordstick wielding Animaru is both menacing and magnetic; rightly winning him the Kinema Junpo Award for best supporting actor in 1996. Additionally, Taketoshi Naitô makes for a fantastically seedy villain as Domon; bringing a perfect blend of sleaze and sophistication to the role, making him a character you love to hate.

An insightful, darkly funny road trip of revenge, Masato Harada's 'Kamikaze Taxi' is gripping from start to finish. Although lengthy, it moves at a fast pace, boasting witty dialogue, an engaging narrative and compelling characters. Skewering 1990's Japanese society, particularly with regard to politics; it's wickedly clever and consistently entertaining. Visually striking and featuring strong performances from all in the cast, 'Kamikaze Taxi' is a wild ride you wouldn't want to miss.

Kamikaze Taxi is a quirky, innovative social satire that is well worth watching only if you are open to seeing a different style of film. This is certainly not the usual Hollywood action film but more for the art-house cinema-buff crowd who enjoy cult films.

The aspect of Japanese living in Peru and Brazil is in itself intriguing. There are the cultural differences and insights into racial problems which offer an interesting mix. Viewers who peer beyond the violence and sex in this film will find much to rouse their intellect.

This film is unique in how it weaves various fabrics of life that are normally separate and often contradictory. For example, we hear magical Peruvian pan pipes played by a Japanese man standing, not high in the Andes, but in a lush green Brazilian forest. The spiritual yearning of this musician contrasts sharply with the ugly violence and betrayal of those near to him in the beautiful forest.

The film is in Japanese, and obviously delivers its message to Japanese society. Keep this in mind when considering the tragedy, humour, corruption, naivety, idealism, contradictions and poetic style that this film portrays so well. What does this say about the Japanese character? Is it true also for those of us who are not Japanese? Gather your friends and discuss such questions over cups of capuccino or glasses of brandy. There is more to this film than first meets the eye.