Kids Return

Kids return was never given theatrical release in the US, probably because Takeshi doesn't actually act in it, and it doesn't focus on Yakuza. Despite this, it is one of his finest films, and definitely among his most accessible.

Made during his recovery from a motorcycle accident, the film focuses on a group of highschool students as they prepare to enter into the adult world. The two lead characters are Shinji and Masaru, delinquent losers who are looked down upon by their teachers, and feared by their classmates. After they're set up by the administration and thrown out of school, they fall into amateur boxing and embark onto different paths. We follow not only the two hoods, but their classmates as well, at they all enter into various occupations, trying to become adults and live a good life, and for one reason or another, failing.

All this seems fairly conventional until you remember that it was written and directed by Beat Takeshi,who lends it his trademark melancholy sense of style, and injects the script with just enough irony and pathos that it resonates. On a technical level, this is one of Takeshi's finest achievements. I've often felt that in his other works, his simple still frame compositions and slow editing rhythms didn't quite synch with the material, almost as if they resulted more from not knowing what to do with the camera than any kind of personal vision. Here he proves me wrong. Kids Return is directed by a man with a confident and assured hand: the shots, while still easy identifiable as "Kitano-esque" (can we just coin that now), are framed with a poetic eye, fusing themselves to the material to lend it the perfect sense of mood. The editing is smooth, craftsmanlike, aided greatly, as always, by the brilliant music of Jo Hisaishi.

The real difference here, though, is the writing. Kitano forgoes his usual rambling improvisational scene construction for a work that is very structured. The plot is circular, and the kids' lives are given a clear step by step descent into nothingness with an edge of Aristotalean inevitability thrown in. The result is something that is not only more coherent, but somehow also manages to be more naturalistic than his other films. Again, Takeshi's hand is still felt: from the affectionately stupid pranks of the leads to the recurring appearance of a twin comedy group, who banter in the style Kitano's own "The Two Beats." But it's organized, more confident. He knows what he wants to say, and how he wants to say it.

The acting is uniformly great, with Masanobu Ando (a long way from his almost demonic role as Kiriyama in Kinji Fukasaku's Battle Royale) a definite standout as Shinji. With little to no dialogue, he still manages to convey a sense of likeability and character. Ken Kaneko plays the more garish of the two, but still maintains the air of innocence that the part requires. There are also fun cameos from Takeshi regulars Ryo Ishibashi (who, happily, is spared any nasty encounters with a piano wire), Ren Osugi, and Susumu Terajima. Perhaps the ultimate compliment to the actors, and to the film itself, is that we don't seeing the man himself on-screen. There's no doubt that Takeshi has one of the brightest, larger than life, screen presences in all of cinema. He so dominates the movies he acts in that they would fall apart without him there. Kids Return, however, stands alone with a strength that seems to almost grow with his absence.

Final moments bring our kids back to the school ground where they grow up and the summation given by Masaru transcends the events beforehand in a way that would have made even Ozu proud. Where do you go when you've got nothing to look forward to, and the entire rest of your life still left to live? Kitano's encounter with death has somehow made him even more pessimistic, but at least he came out with something to say.

Along with Fireworks, one of Takeshi Kitano's finest movies. This movie is a story of two high school? slackers who appear to be looking for a purpose in life. One becomes a good boxer and the other one becomes a yakuza member. After going thru their experience, they become more confident and content with their life even though it couldn't be said that they were exactly successful. Like real life, perhaps the experience is the thing. Good acting all around. It's always good to see Susumu Terajima in Takeshi's movies as he's a very good actor. Also very good score by Joe Hisaishi. The movie also appears to criticize the fact that many Japanese people treat everything- life, work, etc. so seriously that they don't take the time to enjoy life. Instead, they "pressure" themselves to do good, even though their heart may not be in it. It's not unlike many recent Japanese films like Shall We Dance or Bouncing KOgals, both also good movies. Overall, a 9 out of 10.

With this film Takeshi takes a look back at the past in the lives of several men who are in the same school. The two protagonists each choose their own direction: one becomes a boxer, the other joins the yakuza. The story is a reflection on how the choices a man makes can affect their lives and their relationships. As always the drama is interwoven with occasional scenes of violence, and the comedy is dark but never too depressing. Everything about Kids Return is good, and therefore another great piece of Japanse film-making.

"Kids Return" is not a particularly enjoyable or must-see viewing experience. However, it might be worth showing to stupid teenagers, as the lesson in this 'Don't be an idiot'---and clearly illustrates the life of two morons as they enter adulthood.

Shinji and Masaru are two teenage juvenile delinquents. They often don't bother going to school and when they do, they goof off, beat up fellow students for their lunch money and commit petty crimes. However, as the film progresses you see some light at the end of the tunnel for the pair when they decide to take up boxing. However, one of them soon tires of it and joins the yakuza (Japanese mob). The other has a future as a great boxer. However, in BOTH cases, a lack of follow-through and stupidity ends up undoing their paths and by the end of the film, they are two unemployed idiots with no future.

Takeshi Kitano wrote and directed this film but did not appear in it. It's interesting in that so many of his other films seem to glorify the mob life--or at least look at it from a rather judgment neutral point of view. Here, however, it seems to be much more of a morality play where Kitano is taking away a lot of the romance and you see that dumb punks grow into dumb young adults! Well done but also not particularly enjoyable viewing.

uhm what I am suppose to say. After the accident in 1994, there are people think that Kitano Takeshi could never direct or become an actor again. But he has come back from the death and tell us what life is all about. If you read his biography, watch his films in time order, you feel like you are watching his lifetime. You would see how Kitano portrays life and death from his own experience in real life.

Take his accident in 1994 as a mark. Before his accident, Sonatine and Violent Cop are bleak and sad. They showed life affairs that can not be escaped. The whole world wants to swallow our heroes, but they are too tough to be gobbled. But in the end, the heroes choose death to end this permanent fight against the brutal world.

After the accident, in Kids Return, it's not how to die to escape, its about how to live to face this brutal world. Remember the time when he made Kids Return, the Japanese still haven't recognized his talent and he had to endure many critics that had lead to his self destruction. But after he left the hospital, he appeared in Gonin The Five as an actor, directed Kid Return.( Kitano could drop directing and become a comedian again becuz Japanese like him as a comedian, that way is easier, but he didn't do as they wished) Kitano Takeshi has never lose his belief in himself. In Kids Return, I feel like Kitano wanted to begin his life again, left behind all the critics and desire to be recognized by Japanese. No matter how things get bad, life just begin when you feel that you are ready. It's never late to begin your life, yes never.

One more thing I want to say, after this film, Kitano made Hana-bi which received the Golden Lion at Cannes. Japanese started to recognize him as a director. At that time, he's 50.