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'Hana-bi' is one of the most impressive movies I've seen in the last ten years. Writer/director/star Beat Takeshi (Takeshi Kitano) is best known in Japan as a comedian and TV personality, so this movie is even more astonishing to outsiders like myself. Takeshi has a very laconic and charismatic screen presence, and is no slouch as a director either. It's difficult to describe the feel of this movie, and its poetic use of violence. Peckinpah's brilliant and misunderstood 'Bring Me The Head Of Alfredo Garcia' comes to mind, as does Cassavetes' 'The Killing Of A Chinese Bookie', Ferrara's 'King Of New York' and 'Bad Lieutenant'. 'Hana-bi' reminds me of those movies but Takeshi adds his own unique voice to the material. I was knocked out by it, and I cannot recommend it highly enough to movie fans who are fascinated by the relationship between art and violence. I don't think calling this movie a masterpiece is an exaggeration. Absolutely essential viewing!

It was frustrating at first- I couldn't work out what the plot was, wasn't really caring for the characters, and didn't know whether it was in non-chronological order or not. At a point, I unconsciously stopped worrying about those things, and started to enjoy it more. It felt less about having a conventional narrative and more about simply evoking some powerful- yet sorta hard to describe- emotions. The visuals are largely great and go a long way in making the film oddly beautiful and hypnotic, and the musical score is outstanding. I could see myself really liking this on a rewatch at some point, when I know what I'm in for, and therefore aware of the best mood to experience such a film in.

It took at least three repeat viewings of this film before I felt I was ready to review it here on IMDB. The first time I played the DVD I felt a strange sense of detachment as I tried to absorb what had been played out before me.

Kitano plays a detective with huge burdens on his shoulders. His wife, Miyuki) is dying from cancer, a trusted partner & friend (Horibe) is in a wheelchair with nothing to occupy his mind other than to paint landscapes & think about suicide now that his wife & family have deserted him. And to cap it all during an undercover operation headed by Kitano a young detective (Tanaka) is mortally shot & killed because of a blunder on Kitano's part.

Having been subsequently kicked out of the policeforce, Kitano has to cope not only with the loss his job (and income) but to come to terms with his guilt regarding the dead detective, Tanaka, his emotional feelings & absent love for Miyuki as she sees out her last few weeks. And finally, Kitano has a great deal of sympathy & loyalty to his former partner & friend crippled in a wheelchair.

In typical Kitano fashion he decides to rob a bank, pay off his debts to the local Yakuza warlords and spend the rest of the money on his crippled friend, Horibe; Tanaka's young widow and Kitano's dying wife.

Being a big fan of Kitano I wasn't disappointed by the style of the movie. His directional trademarks are visible through most of his films: flowers, beach scenes, picturesque landscapes, beautiful & haunting music (by the ever dependable Jo Hisaishi); face-to-camera shots and of course a sense of helplessness & defeatism within the lead actors themselves.

But what I wasn't quite prepared for was the melodrama & pathos the film revealed to me. Unlike most of his other "gangster/police" movies such as Brother, Sonatine & Violent Cop, the violence seems secondary to the moving, sometimes harrowing scenes of Kitano & Miyuki holidaying together, trying to relive some of their past love & passion for each but only to find there is nothing but loss & grief.

Kitano shows a great range of emotions in this film: from being a tough & very unforgiving man with his dealings with the Yakuza (the violence is sharp, sudden & very graphic). While at other times he is a man totally lost in a world of sorrow & pity, a man who finds it hard to grieve, to own up to his mistakes & guilt, a man who only now realises how much he will miss his wife after spending so many years staying away & not appreciating her needs whilst doing his job in the police.

The ending is absolutely gut-wrenching, but to be honest it was of no real surprise since there are similar outcomes in most of Kitano's films, especially Violent Cop & Sonatine.

The cinematography is absolutely outstanding, coupled with the haunting score of Jo Hisaishi (who also did the score for my favourite Kitano film, Sonatine). Kitano's direction is also beautifully paced with very tight editing & not a single shot is wasted.

The acting as well, is top drawer. Nothing needs to be said about Kitano's performance because it is that good. But the support from Kayoko Kishimoto (Miyuki), Ren Osugi (Horibe) & Yûko Daike (Tanaka's widow) is truly excellent and never weighs the movie down with too much manufactured & false melodrama so typical of Hollywood (especially movies starring Robin Williams).

As I said at the beginning of this review I had to see this film at least three times before I felt compelled to write about it, such is the power & strength within this film. Kitano's humanity is very redeeming & reveals to our Western eyes the true values of Japanese tradition & family relationships, especially with regards loyalty, friendship, love & coming to terms with one's guilt.

I recommend this film to anyone who takes an interest in movies of this kind. It may appear to drag at times, and some of the shots seems uneven & redundant on first viewing. But give it a chance because after about the second or third view more & more of the film's inner strengths will brim to the surface leaving you aghast & begging for more.

*****/*****

Takeshi Kitano's "Hana-bi" aka. "Fireworks" of 1997 is sad, funny, violent and melancholic and, alongside his 1989 debut "Violent Cop", my personal choice for his best work. Hardly ever have I seen a movie which is this memorable and unique in both its tragic and its funny moments, as it is the case with this great film.

I am a big fan of director Takeshi Kitano, who also stars in the leading part (as 'Beat' Takeshi) in this, and "Hana-bi" is my personal favorite of his movies.

Yoshitaka Nishi (Kitano) is a mostly calm, but occasionally irascible and ultra-violent cop, whose wife Miyuki (Kayoko Kishimoto) is terminally ill of leukemia. After his partner Horibe (Ren Osugi) is wounded, and another police officer is killed, Nishi decides to quit his job at the police and spend more time with his dying wife. In order to help Horibe, who is now in a wheelchair, and the dead police officer's widow, and in order to make the remaining time as comfortable as possible for his wife, Nishi, who also owes money to the Yakuza, needs money and he is determined to acquire it.

Not only is Kitano a gantastic a writer and director, his acting performance in "Hana-Bi" is also superb. Nobody else could have played the role of Nishi with such brilliance as 'Bito' Takeshi Kitano, who rarely says a word in the first half of the film and is (nevertheless or therefore) absolutely impressive in his role of the cop with the constant poker face, which typical for Kitano. By the way, the impressionist and very original pictures which are shown occasionally throughout the movie were also painted by Kitano himself. The rest of the performances are also very good, Ren Osugi delivers a particularly memorable performance as Horibe, Nishi's partner who is struck by fate and has to live in a wheel chair, and Kayoko Kishimoto is great in the lovable role of Nishi's dying wife.

Fantastic cneimatography and Kitano's typical way of patiently drawing out some scenes while showing abrupt outbursts of violence with stamina that makes them hurt as well as his unique talent for the combination of tragic and comical elements make this one of his greatest achievements. Highly recommended!

Kitano's Hana-bi is something quite special, a film where images of violence and beauty are juxtaposed. The violence is deadly, but certainly not gratuitous or pointless. The beauty is the love story, the happiness between a cop and his wife.

There are 3 main stories in the picture, each one given the time it deserves. The film is beautiful to watch, the camera work is slick and amazing.

The direction is faultless and no frame is wasted. The film's images speak out, they are very powerful. The long silences add so much to the film, the director really knew what he was doing.

The screenplay is almost in the shadow of the awe-inspiring images, but does give the picture a deserving foundation!

The performances are 101% perfect, very authentic!

The film's musical score is beautiful, it feels very isolated from the images which only adds to the raw ambience, it's perfect!

This is a Japanese masterpiece, see it in wide-screen!