Graine de Yakuza

Fudoh: The New Generation (1996) is Takashi Miike's film which introduced him to the Western audiences and film critics for the first time. After that, he's made many more films which have been shown on festivals and film clubs around the world. Fudoh is alongside Audition (1999) his masterpiece of his films that I've seen. Fudoh tells the story of young boy, Riki Fudoh, who one night sees how his father, a powerful Yakuza gangster, kills his own son, Riki's brother due to some Yakuza "ritual" as the father has to sacrifice something for the crimes he's made to the Yakuza. The Yakuza says that he can get away with the case by chopping his own arm off, but instead he wants to kill his son and bring his head to satisfy the Yakuza. From that day on, Riki seeks revenge for his father without showing it. He becomes the most intelligent student in his school and he forms his own criminal society to fight the old generation Yakuza with the help of some school friends. They include a huge long haired caricature of high school student who crushes everything under him, two cute Japanese girls, which both have some very nasty habits and "tools" and two 6-7 year old boys who commit the assassinations for Riki. Yes, the sentence you just read is true and this is a film by Takashi Miike.

I just love this film in its originality and seriousness. The film is completely over-the-top in some places without ever becoming too gratuitous or (un)intentionally funny, unless Miike wants so. He has the ability to use such symbolism (the ending of Dead or Alive (2000) etc.) that this ability alone would make him a very interesting film maker. Fudoh is a film about same themes as Dead or Alive as they both handle the subject matter of relationships between two men, who cannot quit or change their lethal attitudes and who are enemies but share many similar things. Even more, this film (and Dead or Alive, too) is about human psyche and about the line which appears on the screen at the beginning of the film, before the credits. Human is far more dangerous a beast than any beast we've known from the nature. The ending in Fudoh is very impressive, sudden and great and underlines the message and theme of the film as effectively as the mentioned opening line. This film is about us, but told in the form of a Yakuza drama, as Miike himself is a Japanese and thus Yakuza interests him as a subject matter in his films. Also, the film is about relationships (often gay oriented) between the Yakuza bosses and also relations between fathers and sons, and especially what kinds of things are expected from fathers once they make children. One very unborn "child" is spattered on the face of the huge long haired guy, and maybe that unborn human creature was happier not having to born in this world in the first place? Miike shows and asks us, and those who can or want, try to answer and think about the things in his films. I simply can't imagine a Takashi Miike film being empty in content.

Cinematically this film is very restrained, just like Dead or Alive's middle part after the explosive beginning and the surrealistically wild finale. There are some great images in Fudoh, like the one in which Riki "gets older" after witnessing the brutal murder of the brother, and there's also some beautiful and mythic lights visible, coming from windows etc. and all these things say much more than words ever could, especially when in most cases these lights appear soon after someone's been killed. Fudoh is almost as peaceful as Audition and it is great how the director changes the tones of his films from extremely calm and restrained, to more than wild and explosive. Audition is never wild or explosive, but Fudoh and Dead or Alive sure are. Takashi Miike's ability to handle his films so perfectly is among the things which make his films so unique and fantastic.

The characters in Fudoh are very personal and memorable. The criminals are evil and Riki's partners are crazy, but in a restrained way. The mentioned huge guy has to be seen to be believed, and also one dart wielding female assassin of Riki's is very unbelievable. Some of the violent scenes are very gory, like the poisoning of one Yakuza, which really is effective and grotesque to say the least! The assassinations are brutal and gory, but it all symbolizes the decay of the world as even little children are trained to kill and very effectively, too. None of the violence is exploitative, but some viewers may consider it too graphic and off-putting, but that is always the case with personal, unlimited and symbolic cinema.

Fudoh is very wonderful modern Japanese film and on the same level with the work of Takeshi Kitano, even though these are very different film makers. Equally brilliant and personal, but different in style and elements. Fudoh is Miike's masterpiece and I hope he has many more masterpieces to offer in his career. He has made so much films in such a short time, and all of those which I've managed to see are at least interesting and personal, if not quite masterpieces. Fudoh is among the 10/10 experiences.

Another knock-out by Takashi Miike!!! This one is a doozy... Pre-teen assassins, a chick that can shoot darts out of her p***y, hermaphrodite hit men (hitwomen?), and more bullets and blood than you can shake a samurai sword at. FUDOH is action packed and grabs you from the very first scene. If you are into extreme Asian action, then this should be right up your alley. If your idea of extreme action is Jean-Claude Van Damme and Steven Segal, then you have no idea what you're in for. If you haven't already, also check out ICHI THE KILLER - another Miike masterpiece, both are incredible. I really can't say which film I like better. - Highly recommended 9 1/2 out of 10.

I've mentioned in some of my other reviews ('Ezo Ezo Azaraku II' and 'Mr Vampire') that SBS (a free-to-air Australian channel specializing foreign programs) shows some pretty cool and pretty weird. That being said, I watched this not knowing who Takashi Miike was, and ignoring SBS's usual "warning: this program contains material that may disturb some viewers". That was quite the understatement. I reckon 'Fudoh' could disturb most viewers.

When Riki Fudoh (Shosuke Tanihara) was a child, he witnessed his father Iwao Fudoh, a yakuza boss, behead Riki's older brother, Ryu. Ryu has committed crimes against the Yakuza and dishonoured his father, and in such a society, it is Iwao's duty to kill him, regardless of Ryu being his first son. Naturally, this has an impact on Riki. Skip to Riki in high-school, and he is now the boss of his own Yakuza gang, with the intent of taking out the older generation of Yakuza, and destroying the old ways. Only in Japan...

'Fudoh' plays out as quite the violent yakuza drama. It may not have the body-count of a John Woo or Quentin Tarantino movie, but the "controversial violence" of Tarantino's 'Kill Bill' has nothing on this, and I'd be willing that Woo would much prefer to avoid making anything like this. Riki's yakuza gang is made of up teenagers and kids. Very early into the movie, we see some kids (I dare say no older than 8 at the most) pull out their hand-guns and assassinate a rival Yakuza. That I could barely handle, but Miike just goes further and further with some rather unusual acts of violence and very bizarre sex-scenes.

And even through all that, there is still a plot. 'Fudoh' explores the same theme as 'Battle Royale' - the younger generation of Japanese not understanding, or not willing to understand, the long-lasting feudal traditions in Japanese culture. OK, I'll admit that is how I understood it. Maybe I got it wrong, maybe I was just looking for something that wasn't there, but I'm fairly sure that my interpretation is at least somewhat correct. It is easy to overwhelmed by the action on-screen, and I wouldn't be surprised if some people completely missed any theme and left only with the image of someone's brain stuck to a wall.

'Fudoh' is a good movie, but not for the faint of heart. Or most people. In fact, it may be best if only shown to fans of the more violent action movies from Asia - 9/10

Director Takashi Miike ("Audition", "Dead or Alive I+II") created a dark vengeance-story that deals with a young guy named Riki Fudoh who takes bitter revenge on the Yakuza for killing his brother. Together with some classmates he starts a merciless crusade against the organized crime... However, without being too sensitive, so faint-hearted persons should stay away from the gross scenes of murder! Acid drinks, beheadings and little kids as contract killers... no doubt, "Fudoh" is bloody entertainment in perfection! It is something like teenagers on a killing spree, but fortunately far beyond political correctness and typical Hollywood-clichés - or could anyone imagine Denise Richards using vaginal firearms?!? (A delicious imagination, by the way...)... Miike´s film ran very successfully at various festivals like in Rotterdam/Netherlands, Toronto/Canada or in Germany. It was a No.1 box-office blockbuster in its home country Japan and everyone who likes violent Asian action movies should give it a fair chance! Recommended!

FUDOH: THE NEW GENERATION is probably the best starting point if someone wants to study the new wave of cinema coming out of Japan. While not as good as RING or as thought provoking as AUDITION or the films of "Beat" Takeshi, FUDOH will best prepare you for the extreme limits of violence and taste common to Japanese cinema. (The Japanese perspective on sex and violence is a mix of Paul Verhoeven and the Farrelly Brothers.)

FUDOH's sex and violence isn't in unwatchably bad taste. I'd say it's right on the line.

In the film, a Yukaza father with two sons messes up and must pay a tribute to show loyalty to the other Yakuza families. He does this by killing his oldest son (in a prologue that had me so confused I had to read the video box to follow what was happening.) Ten years later, the youngest son (now the smartest and most popular kid in high school) organizes his friends to take revenge against his father and all the other Yakuza leaders for practicing outdated customs that condone killing one's own family members.

Like most Japanese films, FUDOH works on two levels. On the surface, it's a violent revenge picture (and this one moves faster than most Japanese films.) The film is also a commentary on the relationships between fathers and sons (while enemies the two show more in common then they'd ever admit), young and old, and the need to question tradition and keep things current.

Of course most people will walk away from FUDOH talking about the wild sequences of sex and violence. This is the film by Miike Takashi (DEAD OR ALIVE, AUDITION) that put him on the map. (It also got him labeled the Japanese Verhoeven.) Typical of the director's work, FUDOH would most definitely be 'NC-17', with scenes of six-year-olds performing assassinations and a stripper who shoots poison darts from her.you know where. (You have to see it to believe it, and the fact that Takeshi is able to show it without explicit nudity - the girl uses a blowgun-like tube - proves that he does have a threshold of taste.)

I enjoyed large chunks of FUDOH. It's far superior to the better known DEAD OR ALIVE and more entertaining than AUDITION, although it's nowhere near as mature or thought provoking. It's also worth noting that this film is very Japanese in its behind-the-times attitudes towards females. The sexism is a bit surprising coming from Takashi, since AUDITION (which the director made five years later) is one of the strongest cinematic arguments for a woman's sexual equality that Japan's ever produced.