Kamikaze takushî

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' opens with a newsreel-style prologue examining the conditions of South American immigrants of Japanese origin, who have returned to Japan only to find unemployment and discrimination. The prologue moves on to cover the contemporary (as of 1995) state of Japanese government, and then proceeds into a film which depicts political corruption and its effect on Japan's cultural climate.

On the surface, however, it is a crime film in the vein of those by Tarantino or Kitano, and like those films, it motors with a beat that's both gritty and stoic. It is frank about both its violence and the commercial sex it depicts, and its story begins with a young yakuza named Tatsuo whose job is to procure and train prostitutes for the crooked, lascivious Senator Domon. After the violent demise of a prostitute dear to Tatsuo, the story begins to fork excitedly in new directions, part road movie, and part gangster film. The moral center of the film becomes Kantake, a Japanese-Peruvian immigrant to Japan who speaks badly broken Japanese and has a gentleness that's deceptive to the film's tough guys; when forced to use violence, he does, but only when necessary.

The movie is sometimes faintly, pleasantly elegiac, and if there's any flaw, it's that it often seems a bit labored, its execution lacking the confidence of its overall ambition. Still, it's rousing and original, and by the film's end, one is left with the impression of a poetic arc and a righteous anger.

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!

I won't say it's a bad film, I am usually never deceived by a Japanese crime flick, but if you consider this very topic, a couple of men fighting against the mob, yakuza mob, I highly prefered Ishi Takashi's GONIN, made the same year. the film making and overall treatment were so different. yes, different, and less boring. Nearly three hours is far too long for my taste. And maybe am I not enough a specialist of the Japanese spirit to totally get this feature soul. I usually like Rising Sun country movies because they are bleak, dark, brutal, with rarely happy endings; that's all. That doesn't mean I am immerged into the Japanese soul. Most of Samourai films are too hermetic, whilst being very poignant and gripping to me.