Takeshis'

Quirky? yes. Disjointed? Yes. Hysterical? Absolutely. Having watched Kitano's interpretation of Zatoichi, Blood and Bones, Brother, Kikujiro and Battle Royal I and II, this movie is a complete spoof of his recent movie making career. How he managed to bring so many actors from all of these previous films onto one stage is quite something. In all honesty, viewers shouldn't try to read too much into Takeshis'. It's Kitano. It's Kitano showing us what he feels we know of him in his films. Explosive, comical, distant, a little off the hook. Takeshis' won't make much sense to someone who hasn't at least seen some of the aforementioned movies. Takeshis' is classic Kitano. You either like and understand this fellow, or you scratch your head in wonderment.

The film is very poetic! If you are looking for a traditional narrative format, you may not be satisfied. It is a very complex film, and the structure is very complicated, too. The plot seems not making any sense, but it is so attractive, making you watch it all the way from the top to the end. Though the flow of the film is like dreaming, all the transitions are so smooth and surprising. The film creates you a very rare film-watching experience, which is very unique and new. Maybe, it is Takeshi's version of Fellini's "8 1/2" In my opinion, it is the 2nd best film of all Takeshi's work, after Hana-bi. It is very courage for Takeshi making this successful film.

For those of you that may not be familiar with the Japanese Artist Takeshi Kitano, let me first introduce this multi talent. This really is necessary, as most Western People only know him from his Japanese Television Show Takeshis Castle, which has very little to do with the rest of his work and my confuse some of you. Kitano became famous as Beat Takeshi, and still most people in Japan refer to him with that name. You may think that this name comes from his often violent movies, but actually, he got this name while doing slapstick comedy in a duo with another comedian. Nowadays, in Japan, he is most know because of his daily television shows and radio emissions, that range from political/satirical to pure comedy and non-sense. In his own country, not that many people know that he also is an ingenious movie writer, director and actor, very often doing all of them during his movies. He owns his own studios and makes films that very often don't receive the recognition and appreciation they should, although he has in recent years been nominated or won on several occasions for Golden Lions (Hana-bi, Zatoichi, Dolls, Takeshis), Golden Palms etc. But part from these media appearances, he's also a great painter, photographer, cartoonist, writer and poet.

He made his directorial debut in 89 for the movie Violent Cop. He was only supposed to play the main character, but as the director dropped out, he overtook that role too and revised the whole movie. In case you've heard otherwise, his movies are not only about violence and Yakuzas, although in some cases they play a significant role. But they never stand for themselves, they always stand for something deeper most people may not realize.

Now let's come to his latest addition, Takeshis'. It is a master piece in every sense, but if you actually not into his movies, I strongly recommend not starting by this one, as you won't understand a thing (even if you speak Japanese:-). I'd recommend any newbie starting by Hana-bi, continuing with Kukijiros Summer, then Dolls and then Sonatine. This may sound like a lot of work, but it's definitely worth it. Please consider at least watching Hana-Bi, it's a fantastic movie from every point of view. Along those movies, you'll get used to the Japanese way of thinking, Kitanos visual and poetical styles, it will be very difficult to understand the very abstract but still hilarious movie Takesihis'.

I would describe the movie itself as David Lynch meets Haruki Murakami, Kitano style. I think if you know and appreciate each of them, you'll get my point. I don't want to and wouldn't be able to spoil any surprises, still I'm not going to tell you anything further as it would be impossible to reach the subtle brilliancy of this work of art.

The story's simple enough. Two men, both called Takeshi, live in Tokyo. One is a well-known actor and one is an actor-wannabe who works in a convenience store. The two Takeshis are being played by the director of the movie Takeshi Kitano. It may sound a bit like "Being John Malcovich" but goes far beyond that.

Sure, the movie isn't for everyone but it's definitely interesting and at parts very visual and imaginative. It's without any doubt the most extreme Meta-movie I ever seen.

When a movie has many layers you usually describe it as a "deep" movie. Takeshis has an enormous amount of layers but most of them are paper thin, if not shallow. In the beginning you try to keep track of whether you're watching a dream or one of the two Takeshis reality. It turns out to be a futile task, especially after one caterpillar-scene too many (You'll know it when you see it).

Do remember that this is not "Memento". It's not really meant to make sense. OK, I've always been allergic to the popular urge to over-explain everything in movies but Takeshis might be a bit too far in the other extreme. A heady cocktail of randomness and logical short circuits but not more than most people experience under a good nights sleep, which is what this movie is all about. Dreams and dreams within dreams.

Please, watch Takeshis with an open mind. You either regard it as an aged directors milestone after a long and creative odyssey of ups and downs, much like Fellinis "8 ½", or you can look at it as an overstressed actors brain fart after too many crazy TV-shows and gangster movies.

It's a bumpy ride, it may be a bit too long, weird and garish but you might have a few laughs and at least you have something to talk about afterward. A bit like a theme-park then, isn't it?

Two years after dusting down Shintaro Katsu's blind Zatoichi persona for his quirky period-drama re-jig, Takeshi Kitano is back in his own original territory - with a somewhat intriguing inclination towards double-vision.

Takeshis', which debuted at this year's Venice International Film Festival and subsequently screened at the celluloid festas in Vancouver, Toronto and London, has thus far traversed a bumpy course, with critical maulings riding shotgun up there alongside the more expected superlatives.

On one level a homage to the yakuza gangster flicks Kitano helped to define (since taken to the violent extreme by Takeshi Miike in Ichi The Killer), this movie also doubles as a parody of the style and might just be Kitano's farewell kiss to same. The 58-year-old writer/director has quipped that this is a funeral for the genres he explored over the last dozen movies, in particular the gangster premise, and die he apparently does - several times over - as do more than half the cast and extras in a series of grandiose shoot-outs. The yakuza die. The samurai and the sumo die. Heck, even the deejay in the club scene dies.

In the process Takeshis' throws together a smattering of melancholia, a whacked- out sense of humor, tap-dancing musical interludes, a Bonnie & Clyde twist, and touts more guns than a John Woo slug-fest. The narrative structure is as peppered as a spray of bullets from an Uzi.

The gist of the story is a shake-down of two characters played by 'Beat' Takeshi (Kitano) himself: one the "real life" movie star/director, and the other a shy, deadbeat convenience store clerk who aspires to an actor. But there's a third overwhelming id here, and that's Kitano's own on-screen alter ego from those earlier yakuza romps. The question - which one of these three is the real McCoy? - disintegrates as proceedings reach out on a surreal, metaphysical limb in which dreams interplay with reality, nightmares become farce - and then all swings violently back into an unsure version of the here and now. This makes for a sublime visual feast that's as baffling as it is refreshing.

Kitano's trilogy of parts aside, there's a bevy of other doppelgangers, mirror images and dead-ringers rife throughout this movie. Kotomi Kyono, while a tad dull as the movie star Takeshi's girlfriend, bears more than just costume jewelery sparkle in her ulterior role as a glitzy, ditsy yakuza girlfriend who happens to be the deadbeat Takeshi's tormenting neighbor.

As the creative synod here, Kitano certainly isn't afraid to poke fun at himself or the genres he's looked at more seriously in the past. But, after teasing with some mischievous insights, he then skirts the issue. And the weak moments in Kitano's earlier film Dolls (2002) - self-conscious "artistic" references - are stitched into Takeshis' with abandon. A recurring clown motif, bullets-as-star- constellations riff, and heavy-handed symbolism (in this case of a caterpillar) almost bludgeon the viewer, as if Monty Python had taken a blunt instrument to David Lynch - rendering it all a bit like Eraserhead on a bad hair day.

Not that this is such a bad thing; at times, it's brilliant. In some bizarre way - don't bother asking how - Kitano pulls off the slap-stick Mothra-sized larva pantomime that appears at various stages throughout proceedings.

But on the whole it's these asides that make the movie lurch, and off-shoots like the World War II scenes that book-end the film come off as just plain obscure. Takeshis' could have been that much stronger a movie. As it stands, in spite of (or because of) the pointed vignettes, the tap-dancing, and the associated meanderings-within-daydreams, it's a minor masterpiece. Just.

ANDREZ BERGEN