Nihon kuroshakai

Three young delinquents strive to do something with their respective lives, hopping on a train to Tokyo. Dan Li from XX: Beautiful Beast plays a hooker who tricks the young naive men getting away with their many. Karma's a bitch though and her pimp beats her up for having too much money. After a run-in with a truly sadistic john, she runs into the threesome yet again, but she's more susceptible to go along with their various plans. This film, the third and last in Takashi Miike's thematically linked 'Black Society trilogy' combines the feel of the first two. And though I find it head and shoulders above "Shinjuku Triad Society", I don't feel that it was quite strong as "Black Rain", due to the story seeming to be all over the place.

My Grade: B-

DVD Extras: An EXTREMELY informative Commentary by Tom Mes (the guy really knows his stuff); 2 interviews with Takashi Miike; Yasushi Shimamura interview; Artwork; Bio/Filmograhies; and a theatrical Trailer

The final part of Takashi Miike's loosely structured "Black Society Trilogy" is an incredibly effective film; one that occasionally suffers from the more adolescent moments of shock and spectacle presented in films such as Dead or Alive (1999) and Ichi the Killer (2001), but one that also manages to ultimately overcome such limitations through the combined quality of the script and the performances. Like the other two films in the trilogy, Shinjuku Triad Society (1995) and Rainy Dog (1997), Ley Lines (1999) focuses on ideas of cultural and spatial disconnection, exile, family and the need to escape. It also exists within the same murky environment, populated by gangsters, pimps, prostitutes and lowlifes, all struggling to survive by whatever means necessary. Though at times incredibly brutal - and featuring one scene that really pushes the levels of taste and decency beyond that of the aforementioned Dead or Alive - there is, nonetheless, a strong sense of humour to the film, and a genuine sense of warmth that is expressed through the four central characters and their position as outcasts within a harsh and ultimately destructive world. It also establishes one of Miike's other recurring themes, that of the importance of family; with characters disconnected from their original families and displaced from society, coming together and forming their own makeshift family-unit with a shared goal of escaping Japan for the potential dream of happiness waiting elsewhere.

It is this central strand of the narrative that defines the film - establishing the background of the characters and the circumstances offered to them in this particular violent underworld - as Miike juxtaposes the more abrasive scenes of gun-play and sexual violence alongside more reflective moments of character and drama. If you're familiar with some of Miike's other films, in particular Birds (2000) and the aforementioned Rainy Dog, then you will be accustomed to this particular stylistic contrast; as the director veers wildly from a shoot-out scene in an alleyway, to a scene of the kids riding their scooters around Tokyo. Moments like this are given an even greater feeling of intimacy and warmth through the use of hand-held cinematography, colour filters and a largely accordion led soundtrack, which establishes quieter moments of transcendence and beauty to punctuate the more shocking instances of violence and brutality. These moments show Miike's true worth as a filmmaker, bringing to mind the sublime beauty of a film like The Bird People of China (1998) with the emphasis placed continually on moments of character; as well as adding a greater depth to the more violent scenes, which simply reinforce the bond between these central characters and their urgent need to escape.

The power of the characters on both sides of the struggle here, win out; making the elements of human drama ultimately more rewarding, and the moments of violence simply adding to this; reinforcing our connection to the characters and the oppression that threatens to destroy them. By the end of the film we're rooting for their escape and their victory over these warring gangs' intent on maintaining the status quo. However, as the film approaches its climax, Miike begins breaking down the elements of reality even further; obscuring the image with dark red colour filters and fragmented compositions, as well as suggesting certain elements of dream logic. As a result, the ending of the film is somewhat enigmatic. Nonetheless, it does tie together the overall themes of the film perfectly, whilst simultaneously suggesting so much more about those continuing ideas of cultural and geographical displacement and the journey that began when both of these characters decided to leave home. Although it isn't an easy film to view, given the often controversial depiction of sexual violence and some of Miike's more jaw-dropping cinematic touches, including those infamous moments of self-censorship, the overall feeling that we are left with as the credits appear is entirely overwhelming.

Ley Lines is certainly a controversial and inscrutable work - very much in tune with films like Rainy Dog, Birds and the epic Agitator (2001) with the continual themes of violence, loyalty, family and dislocation - but one that also manages to move the viewer on an emotional level; eliciting sympathy and understanding for these characters, as well as provoking more immediate reactions that still linger, long after the film has ended. The cast is incredibly varied, featuring a strong mixture of talented new comers like Kazuki Kitamura, Michisuke Kashiwaya and Dan Li, alongside Miike regulars like Tomorowo Taguchi, Naoto Takenaka, Kôji Tsukamoto and the iconic Sho Aikawa. The combination of these bold, affecting and naturalistic performances, combined with the heavily colour-filtered images that employ Miike's regular trademark of spontaneous filming on the streets of Shinjuku, lend the film an intimacy and a sense of urgency that is all the more relevant when we think of the central themes of the story. If you're familiar with Miike's work beyond the more widely seen trio of Dead or Alive, Audition and Ichi the Killer, then Ley Lines is a definite one to watch. With this film, Miike creates a bold and incredibly interesting work that manages to skilfully juggle between moments of brutality and tranquillity, character and action, comedy and drama; while carefully blending them together into a cohesive and ultimately incredibly moving whole.

Ley Lines is the third and last instalment in Takashi Miike's Black Society Trilogy that focuses on foreign gangsters with inner struggles trying to find a purpose in life. Ley Lines both shares similarities and differences with Shinjuku Triad Society and Rainy Dog. Despite overall positive critics, I think this movie is the weakest part of the trilogy even though it's still slightly above average.

Just as the first film, Ley Lines focuses on Chinese-born Japanese that have to face a lot of prejudice and racism which is made clear right from the start in a beautiful and surreal opening sequence. Just like in the second movie, the main characters team up with a prostitute that is also looking for a purpose in life. The main characters clash with local gangsters that also have a foreign background which is also typical for the trilogy.

On the other side, Ley Lines focuses on three characters instead of a lone wolf. It tells the story of two brothers and their school friend who leave the countryside on a train and hope to become rich, famous and accepted in Tokyo. Upon arriving, they get tricked and robbed by a prostitute but she gets beaten up by her pimp and crosses the path with the trio again and decides to accompany and help them this time. The trio first sells petroleum-based inhalant toulene for a weird local low-level criminal. When they realize that they are still living like outcasts, they plan on moving illegally to Brazil on a cargo ship. In order to finance such a resettlement, they rob a local gangster clan that chases them down until the final showdown at the port.

Ley Lines has a few brutal and explicit scenes like the other two movies, for example when the prostitute gets beaten up by her pimp and when she has to serve two weird clients which are events that convince her to change her profession, life and identity. On the other side, the film has some situation comedy as well. The brothers' friend is weird, overenthusiastic and eccentric which adds a lot of humour and pace to the film but also feels somewhat exaggerated and redundant at times. The prostitute is also quite quirky and has sexual intercourse with all members of the trio to cheer them up which is portrayed in a surprisingly neutral way as this doesn't provoke any conflicts between the four characters.

The film is overall less brutal and intense than the first movie and less melancholic and solitary than the second instalment. It's somewhere in between those two films and feels directionless at times when weird situation comedy and uplifting moments are followed by rather depressing or boring sequences. Despite a few solid ideas like showing the constant shift of ups and downs in the lives of the three outsiders, Ley Lines is somehow missing its own distinctive identity and has a few minor lengths.

In conclusion, Ley Lines is still a slightly above average movie and if you have watched Shinjuku Triad Society and Rainy Dog, you won't regret watching this third and last part of the Black Society Trilogy either. If you haven't watched the other two films, there are numerous other Japanese gangster movies of much better quality you should watch first. Let me suggest you Another Lonely Hit-man, Gozu and Outrage.

A trio of Japanese youths of Chinese descent escape their semi-rural upbringing and relocate to Shinjuku, a special ward in Tokyo, where they befriend a troubled Shanghai prostitute and fall foul of a local crime syndicate.

Like many of Miike's works, including the two previous "Black Society Trilogy" entries, the film examines the underbelly of respectable Japanese society and the problems of assimilation faced by non-ethnically Japanese people in Japan. Although it may not be easy for some Western (American) audiences to understand, the diversity between Chinese and Japanese cultures is great, and not always compatible.

What is interesting about this film, as opposed to the first two in the trilogy, is the relatively low level that these criminals are involved in. Rather than top-notch assassins or anything so glamorous, the story involves the dealing of toluene. For those who do not know, toluene is essentially paint thinner. So these "drug dealers" are little more than pushers of chemicals that anyone could inhale (for free) at any time, if they were so desperate for a high.

This film is noted as the "most accomplished" of the trilogy, and indeed it does seem to have the most polish. Maybe not as well-paced as "Rainy Dog" or with the impressive music of "Shinjuku Triad Society". but definitely a film with apparently higher production values. Perhaps not surprisingly, "Ley Lines" was Miike's final film before breaking into international stardom with "Audition" (1999).

As with the other two films of the trilogy, Arrow Video has Tom Mes providing a feature-length audio commentary. It is not as informative as it could be, with Mes often commenting on the plot (which should be self-evident). Those really interested in Mes' thoughts should seek out his book "Agitator", now available in a second edition. This disc does have a few bonus features, as well, that help us get inside the head of prolific filmmaker Miike. We have new interviews with Miike himself, as well as with actor Show Aikawa.

Ley Lines is the third installment in the Triad Society trilogy, and like the others this is a (almost) serious film. It revolves around a group of outsiders (sound familiar?) trying to survive in the rough Osaka neighborhood. The movie has a very nostalgic atmosphere and since it revolves around the yakuza world, there are a couple of "Miike-highlights" in this one, however without compromising the atmosphere or tone of the film. So like Shinjuku Triad Society this one is sort of a mix between the serious and insane, and a great movie to boot.

8/10