Rainy Dog

The same day as watching Shinjuku Triad Society I continued with this one. It was a Japanese film special and I didn't read any background info before the movie whatsoever, but after STS (and Kuroshiya Ichi a month before) I decided to give a miss to all Miike films. Luckily I did not know this was Miike.

This was really a surprise noir after the no substance of the previous mentioned. A yakuza goes to Taiwan and works as a hit-man when suddenly his son is dumped upon him, a son he didn't know he had and doesn't want to have either. I don't want to give away much but the movie is dense with atmosphere and humour, it's easily his best alongside Audition, Birdpeople of China and The Negotiator. Akin for Takeshi Kitano, but definitely Miike.

I've been a Miike fan for quite some time, and truly love his wild and crazy approach to film making. But this movie proves that he can also do serious films, and better than many serious directors. It is part 2 of his Triad society trilogy, and once again his themes of outsiders and innocence vs. violence is very obvious. The story is about a japanese hitman (beautifully down-played by Sho Aikawa) who has immigrated to taiwan. At the beginning a woman shows up at his doorstep and leaves a boy, whom she claims is his. The hitman doesn't really acknowledge the boy, and simply goes about his business (which mainly consists of killing people). But the boy follows him everywhere, and when the hitman later develops a sort of relationship with a prostitute, the three slowly grows closer, and become like a sort of family. The movie is very melancholic and has a tremendously moving atmosphere. It is completely rinsed of the usual Miike insanity and it actually works really well. It reminded me very much of Jarmusch, right down to the Neil Young-like slide guitar that makes up the soundtrack. If you've only seen his "crazy"-films you should really give this one a chance, since it really proves what an absolutely brilliant director this man is. "Rainy Dog" is with out doubt a masterpiece in modern cinema, and is even more impressive coming from the hands of the guy who brought us Ichi the Killer, Fudoh, Happiness of the Katakuris etc. etc. Takashi Miike continues to impress!

10/10

Director Takeshi Miike takes a break from his usual trademark ultra-violent comic book style action to bring us this slow paced, yet interesting drama, portraying an ex-Yakuza hit-man exiled to Taiwan for reasons unknown. The rain throughout the movie not only sets the mood but also symbolises the monotony of normal, everyday life felt by the protagonist as a contrast to his previous life as a Yakuza. Coming to terms with his new life, he does small time hits for a local gang and manages to maintain some stability and a sense of purpose in the otherwise meaningless existence of a hit-man. However, his world is turned upside down when a woman he doesn't remember leaves him with a child who is supposedly his. As he goes about his business of contract kills, his newly acquired 'son' follows him with fascination, observing and mentally clinging onto his alleged father in a cold, lonely and rainy city. Things get even more twisted when he befriends a prostitute and here starts the mingling of this unlikely trio, a subtle touch, typical of the twisted world of Miike. Overall, a heart warming yet poignant drama depicting the harshness of life, comparable to Luc Besson's Leon or Takeshi Kitano's Kikujiro no natsu.

Rainy Dog is one of four movies that Takashi Miike shot in 1997, and is the second part of his "Shinjuku Triad Society" trilogy. I am not sure what connection it has to parts 1 & 3 - being set in Shinjuku certainly isn't one of them though, as it is set and filmed in Taipei, Taiwan. It also works perfectly well as a stand alone movie.

Rainy Dog is a movie about a yakuza who has ended up in Taipei, apparently on the run from some gang or other. He works as a hitman for a local boss and tries to stay out of the rain. Apparently it rains a *lot* in Taipei. He forms the beginnings of a family when a woman he slept with many years ago turns up and announces that the mute kid she dumps on him is his.

Rainy Dog is quite an unusual movie for Takashi Miike, being almost totally free of the extreme, unusual and shocking elements for which his work is known. The movie is played pretty much straight, just focussing on old fashioned elements like characters, script, cinematography and symbolism. Not a lot of dialogue (Yuuji barely speaks more than his kid), but when people do speak it is quite thoughtful and insightful.

Rainy Dog is one of Takashi Miike's most technically accomplished films. The cinematography and soundtrack are excellent and editing superb. Despite the fact that most of the cast is speaking Mandarin, which I doubt Miike speaks, he is able to elicit excellent performances from everybody.

Rainy Dog is an artful kind of gangster movie, gently paced and philosophical. It's the closest Miike has come to making a Takeshi Kitano movie (it even has the requisite scene at the sea). It doesn't have anything that really leaps out and grabs the viewer by the balls like other movies such as Dead Or Alive, Visitor Q, Happiness Of The Katakuris or Full Metal Gokudo, but it's probably one of his most well balanced films.

Recommended!

Rainy Dog will no doubt come as a big surprise to many casual viewers of the work of Takashi Miike; featuring none of the over-the-top violence, sadism and hyper-kinetic surrealism of his more iconic pictures, such as Ichi the Killer, The Happiness of the Katakuris, Gozu and Dead or Alive.

Instead, Rainy Dog is an incredibly bleak, brooding, deliberately paced and entirely authentic gangster drama; focusing on the well-worn themes of love, life, family, responsibility, honour and retribution. The films tells the story of Yuuji; an exiled Japanese Yakuza living hand to mouth in a Taiwanese slum, trying to make ends meat by carrying out various hits for the local Triads so that he can afford to buy a fake passport to get him self back to Japan. If this wasn't difficult enough, his life is further complicated by the arrival of a small boy, who is literally dumped on Yuuji's doorstep and introduced as his son. This forces our central protagonist to think more specifically about his life and future; as his purgatory-like existence in this neon-lit jungle hell - plagued by constant rain and bursts of matter-of-fact violence - threatens a single fate of bloody retribution.

As the previous reviewer noted, the film is probably closer in tone to the work of someone like "Beat" Takeshi Kitano, with the deliberate pacing of the narrative and preoccupations with character and tone really carrying the film above the more dramatic moments of action. That said, the film is hardly an anomaly within Miike's rich back-catalogue of works; suggesting the quiet, almost serene moments of films like The Bird People in China, Ley Lines and indeed, the first hour of his masterpiece Audition.

It's wrong to think of Miike as a shallow provocateur; desperately trying to shock the viewer with more and more outlandish moments from film to film. Simply put; the man is a serious talent... as comfortable with straight crime dramas like Shinjuku Triad Society, Agitator and the film in question, as he is with more personal, idiosyncratic projects like Visitor Q, Gozu and The Happiness of the Katakuris. Rainy Dog might not be the film that I watch again and again - lacking the sheer audacity and room for multiple interpretations offered by the latter collection of films - but at the same time, it adds a great deal of depth to Miike's reputation as a highly skilled and highly talented filmmaker away from all the shock-value and occasional lapses of self-parody.

Rainy Dog is dark, moody, uncompromising film-noir at its finest; all wonderfully atmospheric, nicely shot and subtly acted (particularly by the three main leads who come to take on the personification of the "family" central to the thoughts and feelings of the main character). True, it may not be the greatest film that Miike has ever made, or indeed, one that is indicative of his trademark style, but it is, regardless, one that remains an enjoyable if somewhat slow-moving crime drama that shows Miike's capability of working with a variety of different acting styles (from child to adult, domestic to foreign, professional to amateur), whilst simultaneously placing further emphasis on the idea of character, rather than spectacle.