Kamikaze taxi

Kamikaze Taxi is a quirky, innovative social satire that is well worth watching only if you are open to seeing a different style of film. This is certainly not the usual Hollywood action film but more for the art-house cinema-buff crowd who enjoy cult films.

The aspect of Japanese living in Peru and Brazil is in itself intriguing. There are the cultural differences and insights into racial problems which offer an interesting mix. Viewers who peer beyond the violence and sex in this film will find much to rouse their intellect.

This film is unique in how it weaves various fabrics of life that are normally separate and often contradictory. For example, we hear magical Peruvian pan pipes played by a Japanese man standing, not high in the Andes, but in a lush green Brazilian forest. The spiritual yearning of this musician contrasts sharply with the ugly violence and betrayal of those near to him in the beautiful forest.

The film is in Japanese, and obviously delivers its message to Japanese society. Keep this in mind when considering the tragedy, humour, corruption, naivety, idealism, contradictions and poetic style that this film portrays so well. What does this say about the Japanese character? Is it true also for those of us who are not Japanese? Gather your friends and discuss such questions over cups of capuccino or glasses of brandy. There is more to this film than first meets the eye.

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

'Kamikaze Taxi' opens with a newsreel-style prologue examining the conditions of South American immigrants of Japanese origin, who have returned to Japan only to find unemployment and discrimination. The prologue moves on to cover the contemporary (as of 1995) state of Japanese government, and then proceeds into a film which depicts political corruption and its effect on Japan's cultural climate.

On the surface, however, it is a crime film in the vein of those by Tarantino or Kitano, and like those films, it motors with a beat that's both gritty and stoic. It is frank about both its violence and the commercial sex it depicts, and its story begins with a young yakuza named Tatsuo whose job is to procure and train prostitutes for the crooked, lascivious Senator Domon. After the violent demise of a prostitute dear to Tatsuo, the story begins to fork excitedly in new directions, part road movie, and part gangster film. The moral center of the film becomes Kantake, a Japanese-Peruvian immigrant to Japan who speaks badly broken Japanese and has a gentleness that's deceptive to the film's tough guys; when forced to use violence, he does, but only when necessary.

The movie is sometimes faintly, pleasantly elegiac, and if there's any flaw, it's that it often seems a bit labored, its execution lacking the confidence of its overall ambition. Still, it's rousing and original, and by the film's end, one is left with the impression of a poetic arc and a righteous anger.

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.

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!