IMDb-BEWERTUNG
6,3/10
1573
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuThe No. 3 assassin of Japan is given the chance to usurp No. 1 and take their place.The No. 3 assassin of Japan is given the chance to usurp No. 1 and take their place.The No. 3 assassin of Japan is given the chance to usurp No. 1 and take their place.
- Regie
- Drehbuch
- Hauptbesetzung
- Auszeichnungen
- 1 wins total
Yôji Tanaka
- Koroshi-ya No. 7
- (as Yoji Tanaka)
Empfohlene Bewertungen
A series of pleasurable moments full of colors and cartoonish acting with awesome costumes and offbeat characters. Did you get the hint? The story's full of symbolism and artsyfartsy poop that won't sit well on a mainstream menu.
Not that Tetsuo the Iron-man and Pistol Opera director Seijun have the same class, but the titles Bullet Ballet and Pistol Opera just show that there must be a link between the minds of these two discontinuous narrators.
I like the lead actress, so I am biased, and I like kimonos so I am biased, and I like colorful movies, so I am biased, and I like symbolic films so I am biased, and I like discontinuous narratives, so I am biased, and I am Japanese, so I am biased: I liked the movie.
Not that Tetsuo the Iron-man and Pistol Opera director Seijun have the same class, but the titles Bullet Ballet and Pistol Opera just show that there must be a link between the minds of these two discontinuous narrators.
I like the lead actress, so I am biased, and I like kimonos so I am biased, and I like colorful movies, so I am biased, and I like symbolic films so I am biased, and I like discontinuous narratives, so I am biased, and I am Japanese, so I am biased: I liked the movie.
If you've never seen a Seijun Suzuki film don't start with this one. I cannot state that strongly enough.
Taken as a film in isolation, judging it on its own merits, this film fails. Fails interestingly, but fails.
The acting is appalling. The script is pretentious gobbledegook. There are parts of the film when it seems like even the director is sleepwalking. The sets and props are clearly badly made. The actors aren't very good or even interesting looking. The soundtrack is bad. Your friends will think you're a paedophile.
BUT... There are incredible moments in this film. Jaw dropping changes of colour. Symbolic actions. Bizarre perspectives. A new way of looking at everyday items and interactions. Some moments that recall the old thrill of watching the original "Branded to Kill".
The sheer ambition of certain moments is heartening. You think of things like German Expressionism and pop art and say "wow". It's tantalising.
This is a film interesting for those people who've followed Suzuki's career and want to see his next experiment in non-realist cinema and storytelling. Unfortunately that's the only level on which this film works.
Taken as a film in isolation, judging it on its own merits, this film fails. Fails interestingly, but fails.
The acting is appalling. The script is pretentious gobbledegook. There are parts of the film when it seems like even the director is sleepwalking. The sets and props are clearly badly made. The actors aren't very good or even interesting looking. The soundtrack is bad. Your friends will think you're a paedophile.
BUT... There are incredible moments in this film. Jaw dropping changes of colour. Symbolic actions. Bizarre perspectives. A new way of looking at everyday items and interactions. Some moments that recall the old thrill of watching the original "Branded to Kill".
The sheer ambition of certain moments is heartening. You think of things like German Expressionism and pop art and say "wow". It's tantalising.
This is a film interesting for those people who've followed Suzuki's career and want to see his next experiment in non-realist cinema and storytelling. Unfortunately that's the only level on which this film works.
This is one of the best films ever made. An intense fever dream of surrealism, dream logic, and a beautiful painter's touch. I've never seen any other films that could straight-up be called "avantgarde action"; I wish there were more films like this...
What really strikes me are the colors, though the story (which is relatively straightforward; ignore the other reviews) is one extremely philosophical, awesomely existential dilemma after another.
Brilliant in every way a movie can be. Masterpiece. Hated by the same people who hate Izo and El Topo (aka people who can't wrap their head around true brilliance).
Don't understand how ANYONE could hate on this film, even if they didn't "get it" all. The visuals alone are reason enough to see this.
What really strikes me are the colors, though the story (which is relatively straightforward; ignore the other reviews) is one extremely philosophical, awesomely existential dilemma after another.
Brilliant in every way a movie can be. Masterpiece. Hated by the same people who hate Izo and El Topo (aka people who can't wrap their head around true brilliance).
Don't understand how ANYONE could hate on this film, even if they didn't "get it" all. The visuals alone are reason enough to see this.
If ya like colors, this is the flick for you! So all you lame-o b&w Orson Welles fans who are looking for cinematic architecture and intellectual substance, go away!
Ok sarcasm aside, this is truly an enjoyable film... if you like colors. If you like to be bombarded with surreal images and bizarre plot leaps, such as characters being dead one minute, alive the next, and basically existing in an incomprehensible dream world which ends with the words "wtf" on everyone's lips, then this film will wow you.
Me personally, I liked it, but I liked it the same way I like an opera (literally an opera, get it?) where the point is to enjoy the artistry of the presentation rather than any type of storytelling.
Compare this to maybe some of Andy Worhol's experimental work, though not quite as self indulgent as an 8 hour still camera on the Empire State Building. Maybe closer to something by David Lynch, Peter Greenaway or Tarkovsky... BUT (and this is a "big butt" of Peewee Hermanian proportions), what makes it interesting is a dark comic, tongue-in-cheek sort of self mockery which keeps the film from seeming too pretentious.
So imagine all those "pretentious" filmmakers I just mentioned, but add a heavy splash of Quentin Tarantino ("Pulp Fiction"), mix vigorously and of course add lots of bloomin COLORS. Have you seen the infamous Monkees film "Head"? There ya go
Ok sarcasm aside, this is truly an enjoyable film... if you like colors. If you like to be bombarded with surreal images and bizarre plot leaps, such as characters being dead one minute, alive the next, and basically existing in an incomprehensible dream world which ends with the words "wtf" on everyone's lips, then this film will wow you.
Me personally, I liked it, but I liked it the same way I like an opera (literally an opera, get it?) where the point is to enjoy the artistry of the presentation rather than any type of storytelling.
Compare this to maybe some of Andy Worhol's experimental work, though not quite as self indulgent as an 8 hour still camera on the Empire State Building. Maybe closer to something by David Lynch, Peter Greenaway or Tarkovsky... BUT (and this is a "big butt" of Peewee Hermanian proportions), what makes it interesting is a dark comic, tongue-in-cheek sort of self mockery which keeps the film from seeming too pretentious.
So imagine all those "pretentious" filmmakers I just mentioned, but add a heavy splash of Quentin Tarantino ("Pulp Fiction"), mix vigorously and of course add lots of bloomin COLORS. Have you seen the infamous Monkees film "Head"? There ya go
I was eager to see "Pistol Opera" for a variety of reasons. I had recently seen "Branded to Kill" and the idea of a follow-up/sequel/remake by the same director intrigued me. Furthermore, I am a fan of the lead actress, Makiko Esumi, from her work on Japanese TV.
Sadly, this film goes nowhere...slowly. The plot seemed simple enough but within minutes I was lost. These "professional killers" spend nearly the entire film killing each other which begs the question who is employing these people and what purpose they serve. Lots of these scenes look wonderful and have some fun ideas, but nothing makes any sense. Characters deliver long, meandering soliloquies into the camera, flip-flopping from Japanese to English and back again. Neither language adds any clarity to the circumstances. The whole thing feels like some kind of experimental stage play, especially the final showdown where characters enter and exit bizarre scenery accompanied by strange, nearly naked dancers.
What the hell?
Sadly, this film goes nowhere...slowly. The plot seemed simple enough but within minutes I was lost. These "professional killers" spend nearly the entire film killing each other which begs the question who is employing these people and what purpose they serve. Lots of these scenes look wonderful and have some fun ideas, but nothing makes any sense. Characters deliver long, meandering soliloquies into the camera, flip-flopping from Japanese to English and back again. Neither language adds any clarity to the circumstances. The whole thing feels like some kind of experimental stage play, especially the final showdown where characters enter and exit bizarre scenery accompanied by strange, nearly naked dancers.
What the hell?
Wusstest du schon
- PatzerAs Uekyo speaks into the camera with a Union Jack draped over her, the boom mic drops into the picture for a second or two, then moves up and out of sight.
- Zitate
Miyuki Minazuki: I think it's okay to live my life as a pistol.
- VerbindungenFollows Branded to Kill (1967)
Top-Auswahl
Melde dich zum Bewerten an und greife auf die Watchlist für personalisierte Empfehlungen zu.
- How long is Pistol Opera?Powered by Alexa
Details
Box Office
- Budget
- 1.500.000 $ (geschätzt)
Zu dieser Seite beitragen
Bearbeitung vorschlagen oder fehlenden Inhalt hinzufügen