Kamikaze taxi

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!

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.

In my humble opinion the movie was quite nice but too long. Some kind of abridging should have been done.

At almost three hours one might imagine this would be a very slow haul but I hadn't realised the length at the start and never felt it drag. I think in retrospect it probably should be tightened a little, maybe some of the surreal stuff at the hot spar, because I feel I want to watch it again immediately but the length now seems daunting. How silly. Anyway what starts off as a fairly standard Tarantino influenced yakuza movie develops very much a style and pace of it's own. Lovely wry humour and acute and memorable observations. Dealing with yet another of Japan's guilty secrets, this time the fate of Japanese brought up with one or other parents was a Brazilian or in this case Peruvian migrant worker, before they decided they didn't need them any more. So this convoluted tale is hard to convey in a few words but is certainly violent, gentle, blunt and poetic. Much use is made of the Japanese outdoors for a change and there is always something happening or about to happen and always most involving and likable. Even the pipe music was enjoyable!

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.