Aquiles e a Tartaruga

Beat Takeshi's "Dolls" is one of my favorite movies, and I really enjoyed his other films "Kikujirou no Natsu", "Zatoichi", and "Brother". However, his last two films I viewed, "Kantoku, Banzai!!" and "Takeshis'" were nothing but narcissistic garbage, so I expected nothing from this movie. To my surprise, it turned out to be a fantastic film that's not only funny, but also deep.

The story follows the life of a boy who loves art and destined to become an artist, though fail to achieve success due to lack of originality and excessive imitation.

What I really liked about this film is that it explores what art really is, and pokes fun at the absurdity of some of today's so-called 'modern art'. It also depicts the suffering of an artist whose works are not 'understood' by others. It's interesting Kitano Takeshi's films are often artistic in its own way. Makes me wonder if his previous two films were too artistic for me to comprehend?

In any case, I enjoyed this film tremendously, and there were many memorable moments. Casting was done extremely well, especially in the 'college days', and all the actors gave a great performance for this wonderful movie.

The movie does not work in only one level; so it can be seen as a sampling of art, in this case: "painting"; from different viewpoints or dimensions. Good actors, humor Kitano style, the Japanese twisted style; however it is a mixture of 2 or 3 movies in one; changes radically from one part to another (the movie is not formally divided) and the only connection seems the art itself (that s not bad at all...) The first half has a coherent development of the script, good photography and shows us the protagonist as a school kid then as a young man. He, an almost autistic person that seems unaffected by the (good and bad) things that happen in his life. Perhaps the answer to why he continues to fail in his work. Failure to get emotionally involved in a way o another in such episodes or not take part physically or to be mentally affected by them, makes an artist that will not acquire the necessary skills (after assimilate and process its) to then translate them into his work; normally a way to say things or feelings of what a person (an artist) can not say in another way. We see a person who may have a natural talent for painting, or based on to paint and repetition developed good capabilities but do not know how to let out his own creative streak, which just ends up imitating the great painters or following great schools of painting in an evident level.

-in a second part of the movie, changes completely and we see Kitano, fulfilling the lead role and with his rough style and Yakuza pose, this main character loses all silence and dedicating autism demanding constantly to his suffered side kick wife; dragging them in a not so good life. In this part the artist is showed like an "art junkie" There s kind of humor here and the shots are more TV like ones. The movie could be better or could be at least two movies...

Kitano trying something different - is kind of something you expect from him. Now while he could have just been doing Yakuza or silly comedies, he goes ahead and does movies like this. It's about art - not just his decision, but what this movie is about. Now there is quite a lot of comedy in it and there is also quite a lot of violence in it too.

It is what he knows to do - and he is good in it. And while I did not look into if there is any autobiographical aspect to it, it does feel like he at least is chanelling something about himself. It may feel like small pieces sown together, but there is craft in that, making it compelling and interesting to see the road and determination of an artist. It is odd, but it is also really good

After two introspective films before Achilles to Kame, Kitano is back to complete his trilogy. With Takeshis' he explored himself as an actor, Kantoku: Banzai! revealed Kitano as a troubled filmmaker and Achilles to Kame, third in line, is telling us something about Kitano as a painter. And art. Or non-art, for that matter.

The film starts of rather slow. Kitano seems to reach back to the feel-good 50s try-outs he made in Kantoku: Banzai! Soft lightning and swift switches between humor, slices of life and drama of the poor make up most of the first 30 minutes. A few scarce moments remind us we are watching a Kitano film, most of them coming from the interaction between the young kid and the village retard. Scenes that are not unlike the ones between the grandpa and little girl in Ishii's Taste of Tea.

While those first thirty minutes are quite pleasant, the humor is warm and comforting and the score is pretty spot on (staying very close to the work of former Kitano regular Hisaishi), as a Kitano flick the film is definitely missing something vital. That something is added when we jump a couple of years forward to the painter's college years. It is obvious that Kitano's style starts to flourish in a more modern Japanese environment.

This is also the time when things start to go wrong for our young painter. Up until then he has been following his heart, making the paintings he likes best. But apparently, that is not to the liking of the young art dealer who is asked to sell his work and our young painter is urged to start following art lessons. He begins learning about art, which kick-starts his everlasting journey to grasp to concept of Art (with a capitol A).

Visually this second part is much more like the films that made Kitano famous. Static camera views, harsh lighting and many shots of stark facial expressions. The structure too becomes more like his older work, reminding me a lot of Kikujiro. Where the first parts grounds the trip the main characters are about to make, the core of the film lies in the sketchy scenes that follow. Our young painter teams up with his classmates and through several (often very funny) attempts eh tries to capture the core of art, spirit and originality.

After this second part the film jumps to the current time, Kitano himself (of course) portraying the painter as someone who has lost touch with reality, still running behind this idealized image of capturing the essence of art. In this third part the film really starts to shine as Kitano himself can fool around to make the best of the scenes he's in. He is visibly enjoying himself as probably a couple of those scenes were largely improvised on set (remembering the docu I once watched on Kikujiro).

Kitano will always remain Kitano, no matter what character he plays, but since he's playing himself that's hardly a fault. Apart from that, his mannerisms and posture are gold in the comedy scenes. Still, Kitano's character starts to sink deeper and deeper to the point where the comfortable life around him is shattered to pieces, with Kitano unable to let go of his self-induced passion.

The first section of the film is obviously the weakest but important for Kitano's vision on the subject. The moment he goes to school to learn about art he loses his spirit and becomes a parody of what an artist is supposed to be. Kitano pretty much trashes artists, art dealers, self-indulged amateurs and buying customers alike as he questions and undermines the importance of art and its function in our society.

It is nice to see a director doing this so openly and directly. Even though the film revolves around Kitano as a painter, it is easy to broaden the perspective and to see this film as a comment on art and art appreciation in general. On how people approach art, want to understand art and want to profit from it. It is also good to see that Kitano can walk away from it in the end with a contented heart and a freed soul.

Achilles to Kame is a film that combines the themes and topics of his two latest outings with the style and feel of his earlier work. The comedy is typical for Kitano, the acting (with a neat little cameo for Terajima), directing, structure and pacing are all very much like his earlier films too. Even the music seems to come right out of Hisaishi's office. It's very nice to see all these things come together to create something that feels like the current Kitano, bearing his past baggage and showing multiple sides of his personality as a director, while still remaining very consistent in style and feel.

A must for Kitano fans and probably art fans alike (as all paintings were made by Kitano himself and are apparently based on existing paintings). Probably not the best place to start for people not really familiar with Kitano's earlier work as a director, but as a fan of his directorial efforts this is a pretty complete and awesome film to behold. 4.5*/5.0*

Machisu is an artist, and has been as long as he can remember. As a child, his mother died, followed a few years later by his father. His stepmother sent the boy to his aunt and uncle, who didn't want him; giving him to an orphanage. Painting was the only relief from the callous world he found himself in. Through art college, he experimented with various styles, never finding one that suited his vision. As he grew up, got married and had a daughter, his obsession with art intensified, until it became his sole driving force; to the detriment of his personal relationships. Will Machisu ever find a style that suits him, or will he be left unable to express himself adequately?

Takeshi Kitano's fourteenth film, 'Achilles and the Tortoise' is a poignant drama exploring the meaning and cost of artistic passion. Kitano's narrative- partially autobiographical- shows how Machisu's obsession with art blinds him to the reality and needs of his family, work and society. He becomes a self-indulgent beast, indifferent to the feelings of those closest to him. Likewise, his art suffers, and though he strains to attain an individual style, he never can. Although a little repetitive, the film acts as a pointed indictment of obsession- even of the artistic variety.

Conversely, the film also suggests that art can be a form of therapy. In his younger days- before his passion turned to obsession- Machisu's painting released him from the pain of his existence. Though he had no family to turn to, he had his paintings and peers in art college. They gave him hope, and the will to continue living. It is because of his love for art that he met his wife, and the years they spent together trying to further his career were certainly the best of his life. A film of much depth, various readings can be made with regard to its thematic content.

Visually, the film is stunning, with ingenious composition and clarity of images. Every frame could be a painting. Furthermore, the paintings seen throughout- done by Kitano himself- are striking, while Katsumi Yanagijima's cinematography continuously impresses. His use of bright colours, dynamic movements and symbolic elements contrast with the dark and tragic events of the narrative.

Moreover, under Kitano's direction, Yanagijima's work reflects Machisu's artistic evolution and experimentation. He uses different styles and techniques to match the different periods and influences that Machisu goes through, such as realism, expressionism, surrealism, pop and abstract art. The film also pays homage to some of the artists that inspire Machisu- such as Van Gogh, Picasso, Warhol and Pollock- by recreating their works and incorporating some of their motifs. Meaningful and expressive, 'Achilles and the Tortoise' makes for a unique and captivating visual experience.

Additionally, Yuki Kajiura's score is delicate and evocative, reminiscent of the work of Kitano's old collaborator, Joe Hisaishi. Kajiura's work complements the mood and tone of the film, adding to its emotional impact. Norihiro Isoda's subdued production design is in keeping with Kitano's minimalist style, enhancing the film's artistic expression. The simple and sparse settings- such as Machisu's studio, his home and gallery- allows one to fully focus on the paintings and the characters.

Isoda's work also draws inspiration from different genres and styles of art and design, such as the Japanese traditional art of calligraphy, modern arts like manga and anime, as well as postmodern ones such as pop and kitsch. Isoda incorporates these elements in subtle and clever ways, such as through the use of brush strokes, comic panels and neon signs. Furthermore, the film pays homage to some of the artists and designers that influenced Kitano, such as Hiroshige, Hokusai, Miyazaki and Murakami.

'Achilles and the Tortoise' stars Kitano as Machisu, alongside Kanako Higuchi as his wife Sachiko and Eri Tokunaga as their daughter. A quiet, enigmatic painter, who else could be better for the role than Kitano? He pulls it off with his trademark wit and ease, while Higuchi is marvellous, delivering a nuanced, believable performance as his long-suffering spouse. Tokunaga is similarly good, while Kitano regulars Susumu Terajima and Ren Osugi do not disappoint in all too small cameo roles as a Yakuza pimp and Machisu's uncle, respectively.

A film both fun and affecting, 'Achilles and the Tortoise' proves Kitano's skills as director, writer, editor and actor. Visually remarkable and boasting a fine score from Yuki Kajiura, it impresses on every level. Though at times the narrative might seem a little repetitive, its exploration of themes- such as the cost of artistic passion- is profound and intriguing. As the last chapter in a semi-autobiographical trilogy- including 'Takeshis'' and 'Glory to the Filmmaker!'- this is a memorable, philosophical film about the power and price of art that Achilles might have found to his tastes.