Bullet Ballet

It's not that no one else does what Shinya Tsukamoto does, but that when he's at his best, nobody does it better. All the common staples of his style are here: loose, frenetic camerawork; sharp editing to produce rapid successions of imagery; industrial music. Add to this the black and white presentation of a very independent production, and the stage is set.

If Tsukamoto's boorishly over the top sequels to 'Tetsuo: The iron man' proved anything, it's that the filmmaker does his best work when he begins with the simplest idea and develops his story from there. In the case of 'Bullet ballet,' that means a man's obsession with obtaining a gun following his partner's suicide. From that premise comes a movie about a person living on the edge, and accidentally becoming involved in still more seedy matters in the process. By all means, it's a concept with great potential. I'm not convinced that the result here was entirely successful, but it's duly engaging, and compelling enough to mostly hold our attention.

Tsukamoto is a capable actor, and inhabits the lead role with strong range and nuance to realize the protagonist's anguished desperation. The writing of other characters is less discrete, but the rest of the cast are suitable nonetheless. I think each individual scene is composed and executed very well, with varying moods and temperaments across them all. I'm less enthused about the overall narrative, as it seems too disordered and busy for its own good. There are sound ideas here, both the central focus and the misadventures that the main character becomes involved in. But I feel like 'Bullet ballet' would be so much better if it were more concentrated on protagonist Goda and his flailing effort to acquire a weapon and end his own life. The more that the film spins out to weave in the thread of gang warfare, the thinner and weaker it becomes, especially since the two elements as they are written fail to converge with the cohesiveness they could have. The movie is full of solid possibility, but the rendition of the tale that we get just doesn't quite cut it.

With that said, I don't think this is bad. In fact, I'm inclined to say it starts out very strong, and even as the component parts fail to wholly integrate, I think the ending is pretty well done, too. The real issue is a floundering midsection that's a little all over the place, and just not tightly centered enough to totally work. More time spent developing the screenplay would have gone a long way. Still - while in part I wonder if I'm not being too kind as it is, more so than not I liked 'Bullet ballet.' It's far from perfect, but tells an engrossing story while refraining from the utmost bombast that bring down some of Tsukamoto's other pictures. This isn't necessarily a movie for someone who doesn't already appreciate the filmmaker's style, but for anyone open to it, it's a fair watch. Don't go out of your way, and keep the indelicacies firmly in mind, but if you happen to come across 'Bullet ballet,' it's not a bad way to spend 85 minutes.

Tsukamoto is like a spiritual brother to Cronenberg. The grotesque body horror that accompanies most of their films. Their purpose to replace sex (in the classical sense) with a metaphorical equivalent. In Tetsuo it was mechanical, in Tokyo First it was violent punches and in this one there is that weird gun and bullets (of course)...that also replace war and death / suicide.

Tsukamoto is, however, a more rebellious soul. A soul less prone to the parameters of conventional filmmaking. More experimental and more cryptic in a more Japanese sense.

This is not ment to be enjoyable, it is ment to satisfy an already tormented viewer with more of what they already feel, angst, fear, uncertainty, inner violence.

Shinya Tsukamoto's unique vision is fairly amazing. I thought the better known "A Snake Of June" was brilliant and provocative, but this film is also, even though they are hardly about the same thing. Mr. Tsukamoto, who produced, edited, wrote and directed this, also stars in it as Goda, a commericals director whose girlfriend has killed herself with a gun. Goda's life and reason unravels, and he obsesses with finding a gun. He falls in with a gang of disenfranchised youth in Tokyo's Shibuya (the Harajuku district, which is next to Shibuya in Tokyo, is a prime place for these young people still) and gets involved in a gang fight as well as other violence. The film was shot in black and white, which was an excellent idea, since the film is too stark to be in color. This is not for casual film goers, but fans of Tarantino and Darren Aronofsky's work will like this. Mr. Tsukamoto has created a film about the lure of non-redemption and brilliant shoots it almost documentary style. The other characters, especially the brooding model like Kirina Miao as Chisato, are also good, but this is Mr. Tsukamoto's film. Obtain the DVD, which has an interview with him taken years later in which he answers certain questions about the film. It is a candid view of his process and idea. This movie is very in your face and its effectiveness in spreading the message of violence and hopelessness is fascinating. I highly recommend it.

First off, those expecting the David Lynch-on-Angel Dust style of the 1st Tetsuo movie and Tokyo Fist will probably be disappointed. Like Tokyo Fist, this is Shinya Tsukamoto at his most personal and heartbreaking. I saw this film at the Montreal FantAsia festival and came out puzzled by what I saw. Here I was, expecting Tsukamoto to cut loose again...and this movie was, by the standards of his earlier work, relatively calm. I'd compare it to Scorsese's "The King of Comedy" in that people will soon be hailing this one as a masterpiece.

The film is the story of two people linked together by ideals and tragedy. Tsuda is a director of commercials who is heartbroken by the suicide of his fiancee for mysterious reasons. He soon develops a fascination with guns.

Later on, we meet Chisato, a young woman who is the driving force behind a gang of Japanese toughs. Tsuda forms a bond with Chisato through multiple encounters with the gangs. Whereas the other members of the gang are middle-class kids looking for fun, Chisato has a death wish and a suicidal streak which propels her to violence.

Here's hoping that Bullet Ballet gets released soon, as it is technically perfect as well as emotionally dead-on.

Ever since I watched Bullet Ballet for the very first time it's been by far my favorite of all Tsukamoto films. Being a director with a cult following, Tsukamoto is one of the better known Japanese Directors of the last twenty years with a unique visual style of movement and imagery. After watching this film, Bullet Ballet could arguably be Tsukamoto's best film as some of his succeeding works have faltered to produce better quality of work ever since.

As the main character in Bullet Ballet, Tsukamoto himself plays a man named Goda who one night after his usual daily drinking routine goes home to find that his girlfriend of ten years has committed suicide by gun. Torn by his girlfriend's own demise, Goda goes out looking to buy a gun in the streets and along the way runs into a gang of punks who beat him up for a previous spat with the female gang member Chisako (played by the actress Kirina Mano), which leads Goda to hold a personal and unforgivable grudge towards Chisako that he will not let go without violence of his own.

The story and the cinematography of this film holds up this movie and while the acting may be questionable in some minor scenes it doesn't affect the film in any way. Like most of Tsukamoto's other films, Bullet Ballet is presented with plenty Tsukamoto's usual signature hand-held kinetic camera style in most of his films. In my opinion there's room to say that the story of this film could have benefited from some improvements here and there for the characters, though based on Japanese culture and behavior should they had made certain changes would have made the film a bit unusual for Japanese audiences to understand opposed to Western style filmmaking.

Compared to other Tsukamoto's films that I have enjoyed, this is definitely his best looking film to date. Tetsuo "The Iron Man"(1989) which blew me away still had a very dark look and even at times looked underexposed in some scenes. Still, I was amazed with what Tsukamoto was able to accomplish on Tetsuo with very little. A Snake of June is another one of his films that nicely paints a picture while being a very daring film to awe the viewer. In many ways A Snake of June would have given Bullet Ballet a run for its money to be Tsukamoto's best looking film had Tsukamoto have filmed A Snake of June in widescreen format instead of 4:3 full screen which I did not care for and annoyed the hell out of me.

Personally, I can't say I care for any of Tsukamoto's films shot in color except for maybe Vital which was beautifully shot. In spite of it, I still wonder whether I care for the story in Vital by itself, which I am still a bit conflicted about. Style over substance or not, Tsukamoto's visual style in itself is very unique, which can only be seen in films like these.

Whether it's old fashion or not, I still hope for Tsukamoto to one day go back to shooting films in black and white. I feel that in black in white movies he's able to present a much better looking product compared to the ones he made in color. As the current Japanese movie trend is shooting movies in Digital HD that look like video (which in my opinion ruins the visual aesthetics of a traditional film even though you save in budget by in shooting video) I hope Tsukamoto doesn't go on to follow just to save money and sacrifice production quality on his films. That would be a shame to say the least.

There are many versions of Bullet Ballet out there. The version I saw was the standard 87 minute version. There are longer versions in the mid 90 minute marks out there even one that goes on almost close to two hours, but are those rare to come by.

All in all, give Bullet Ballet a go and some of Tsukamoto's other works if you wish. You might enjoy some of them if you're into bizarre, weird and unusual stories. 8 out of 10.