Sonachine

I think the people who criticize this film do so because they've been trained to watch movies the way Hollywood makes them. This is as far from Hollywood as a gangster film can get. The quiet (or as some might say, boring) moments are there because the characters exist in a realistic world where sometimes they can do nothing but sit and think. Sonatine isn't perfect, but it can certainly be appreciated if the viewer will approach it with an open mind. Also, the sumo scene is very fun and beautiful.

Since Sonatine was the first movie by Kitano that i enjoyed, I had no real expectations (except for an action-thriller thanks to the cover)and was totally taken aback by what I saw.. Not an Action Film with high bodycount but a story about a man who leads a life without hope and then when all trouble would be removed from it is too scared to start anew (or unable to). The story is told in a totally minimalistic and realistic way that doesn't chase you from one scene to another only to show you the important parts but always takes the time (often more than once) to let you study the protagonist and his comrades only through their faces so you have to figure out what they think on your own. Films that explain nothing often make everything clear. Films that explain everything often have nothing to explain.

In my opinion either you love this film or you hate it, there is no in between, since its so different from the standard or even great gangster movies of our time . I for myself was mesmerized by its artistic beauty, its compelling acting and its wonderful soundtrack.

By now i have seen Hanabi and all the other Kitano movies, but this remains the best to me..

Having finally experience Sonatine, I can't say enough for this poignant and moving film. Beat Takeshi may face death with that same disconnected look on his face, but it is the inaction, the time between the killings, that carry all the meaning. Even when in gunbattles, nobody moves, nobody tries to dodge, it is as if everyone simply feels chained to their fate. This is jarring to Asian cinema lovers used to side-jumping, dual-gun gymnastics and amazing set pieces.

I love how the only emotions Murakawa expresses are humor and nihilist apathy. The "sumo scene" is so delightfully out-of-place, while the ending simply leaves your mouth open. The warmth the characters show just makes it more hurtful when they meet such pathetic, low-key ends. I'm not an expert on Japanese society, but I see this film as a comment on the emptiness of a fear-filled culture of reservation, where it is more important to show restraint and respect than it is to continue living.

I'll still enjoy good ol' HK pistol operas, but I'll never see them quite the same again.

Like most of Beat Takeshi's movies, you have to really observe it, rather than watch it, to really appreciate his movies. His style is almost Zen-like in its lingering shots of people and scenery. You have to be very attentive to everything he presents to you, or you are just not going to "get it." People here in the US are used to being spoon fed their information and it's no different in US-made movies. They need to be told if the character is angry, sad, tired, etc... and movies like Sonatine tells you "hey, you're on your own, use your brain for once." In most Asian cultures, males tend not to verbally express their emotions, but they will show in their eyes and body language, which is why Westerners have such a hard time understanding our culture. I'm Chinese, born and raised in the US, and I found this movie to be a wonderfully complex and beautifully shot.

I'm not entirely sure what to make of this film--I suspect I need to view it at least once, and probably several more times before I can get a good hold on it. However, my inability to fully comprehend what "Sonatine" is about doesn't strike me as a flaw. Rather, the film is much more complicated than the usual gangster film.

It begins with very unsentimentalized and nonglorified violence. People hit and kill each other and it isn't much different than toast popping out of the toaster. It is fast, moderately bloody, and there. Kitano doesn't seem to be interested in thrilling us with either the danger, grotesqueness, or thrill of violence--another, not clearly defined agenda is at work here.

At perhaps a third of the way into the film, it makes a sudden transition from this gangster life to a period of forced inactivity. I suspect this section, which is delightfully playful, is at the heart of this film.