Shinjuku kuroshakai: Chaina mafia sensô

This movie is the first of Miikes triad society trilogy, and the trilogy kicks of to a great start. The movies in the trilogy are only connected thematically, and these themes are actually apparent in all his films, if you look close enough. Shinjuku Triad Society is about a cop trying to prevent his kid brother from getting too involved with a rather extreme gang of outsiders, struggling their way to the top of Tokyos yakuza. The kid brother is a lawyer, and the triad gang is becoming increasingly in need of one, as the movie progresses. The movie takes place in a very harsh environment, and is therefore pretty violent and tough. Miike has done worse, but since this is a serious movie it hits you very hard. As usual there is also a lot of perverted sex, mostly homosexual in this one. The movie is in many ways a typical gangster movie, but with a great drive and true grittiness. If you've only seen Miikes far-out movies (Ichi the killer, Fudoh etc.) this is worth checking out since it is sort of a compromise between his aggressive over-the-top style displayed in those movies and his more serious side, as seen in the other films of the trilogy. And as always with Miike, there are at least two scenes in this that you'll NEVER forget (see it and figure out which ones for yourself).

8/10

A lot has been said about Shinjuku Triad Society as the first true "Miike" film and I thought this sort of description might have been a cliché. But, like all clichés, it is based on the truth. All the Miike trademarks are here, the violence, the black humour, the homosexuality, the taboo testing and the difficult to like central character. Shinjuku is however, one of Miike's most perfectly formed films. He says in an interview that if he made it again it would be different, but not necessarily better. I think what he means is that the film possesses a truly captivating energy and raw edge which seems so fresh that although he might be able to capture a more visually or technically complex movie he could not replicate or better the purity of this film.

As you might expect, the violence is utterly visceral, gushing blood and gritty beatings are supplemented by a fantastic scene in which a woman has a chair smashed over her face. (Only a Miike film could let you get away with a sentence like that.) The film has a fantastic pace, unlike Dead or Alive which begins and ends strongly and dips in the middle. Dead or Alive also deals with similar issues, Miike is clearly concerned about the relations between the Japanese and Chinese in the postwar period and this emotive subject is handled well here, the central character really coming to life when you begin to understand his past.

I cannot sing Shinjuku's praises enough. I do not want to give away too much. This is Miike before he began to use CGI to animate his films and is almost reminiscent of something like Kitano's Sonatine. The central characters are superbly realized and the final twist guarantees that as soon as the film has finished you'll be popping it back on again to work it all out.

I found this a bit hard to follow to the extent that it seemed to dip in the middle while I tried to make head or tail of who was fighting who and why. One of the problems is the cultural/language one. Here we have a Chinese/Taiwanese/Japanese problem of which we know little and because we are simply reading English subtitles inevitably loose some of the subtleties. Another problem is that there seem to be just too many only half explained twists and coincidences. Nevertheless, it seems unlikely that there is a wholly bad Miiki film and this certainly is not that. Plenty of stylish and bone crunching violence, a window upon some less than orthodox sexual goings on plus the family aspect. All in all a decent ride but maybe checking out the storyline might actually be helpful before watching this one. PLEASE SEE later re-appraisal 11/2/19

Shinjuku is a bizarre film even by Miike's standards. I'm still undecided about whether I like this film or not and I'm not quite sure where to begin describing this film. In layman's terms it's a film about two brothers, one's a police officer (Kiriya) the other is a lawyer (Yoshihito) working for the mafia. During the course of the film a war breaks out between the Chinese and Japanese gangs, and it's down to Kiriya to keep his younger brother safe from the fallout.

Shinjuku is one of Miike's early projects and was the first one to get him noticed, whether that's from the sheer shock factor or genuine talent I don't know. The film has a certain low budget aesthetic that works really well. The film also has a genuine sense of grit and nihilism to it. The characters are all horrible, and they do horrific things to each other. From scenes where the police interrogate their suspects by anally raping them, to the mafia harvesting organs from children there are no good guys in this film, only shades of grey.

The film also tries to deal with a wide range of taboo topics, most notably having a homoerotic undertone which at times felt out of place, and only there to serve as shock value. Over-all there are some interesting aspects to the film. I liked the main story and the juxtaposition between the two brothers, despite it not being very original. Shinjuku had moments of brilliance but for the most part I didn't buy into what Miike was going for.

The world of Takashi Miike's cinema is an abstract and ever conflicting one; moving from moments of gritty realism, character depth and almost tranquil beauty, to jarring elements of outlandish violence, tongue-in-cheek humour and outrageous visual exaggeration. This continual juxtaposition of tone can be problematic for some viewers, as the film announces itself as a serious, worthy crime picture, only to then undercut this notion with a flash-cut of a forensic detective offering peace signs as he poses with a severed head. This continual approach of more serious, dramatic moments undermined or subverted by remnants of mocking humour is emblematic of Miike's work, and can be seen in many of his greatest films, such as Ley Lines (1999), Dead or Alive 2: Birds (2000) and the masterpiece Visitor Q (2001). It's an approach to cinema that seems deliberately intended to challenge the preconceptions of an audience and to provoke an immediate reaction (often through shock), which can be further witnessed in the director's often bold disregard for the notions of genre convention or traditional narrative design.

With Shinjuku Triad Society (1995) we see many of these ideas and characteristics in their earliest stages of consideration, with the film in some respects establishing Miike for the first time as a serious filmmaker of bold intent and critical worth. Though it lacks the obvious finesse and sterling confidence of his later work, it is, nonetheless, an important film, worthy of repeated viewings and serious critical analysis. As ever with the director, the film focuses on elements of the criminal underworld, here the "black society" of downtown Shinjuku, with loyalty, betrayal, honour and responsibility all driving the plot forward towards a violent and confrontational finale. We also have the inclusion of one of Miike's favourite dramatic motifs, the idea of the outcast within society, with the combining influence of geographical displacement and the search for somewhere to belong - often manifested in the representation of family - becoming central to the duality of the relationship between both criminal and cop. These themes would be further defined in the two subsequent films that would eventual come to form the backbone of this loose, thematic trilogy; with the themes of Shinjuku Triad Society leading off into Rainy Dog (1997) and the aforementioned Ley Lines.

The film could also be seen as a run through for the more elaborate and post-modern experimentation of the original Dead or Alive (1999), with the cop vs. criminal aspect of the story being the catalyst for the drama, despite the apparent fact that both of these particular characters are as flawed and viciously corrupt as one another. Once again with Miike we have a series of vague characterisations that suggest a background and personality through scenarios and brief, enigmatic images; for example, the quick cut of the small boy sat melancholy in the yard of a low-rent tenement that we see right near the beginning of the film - establishing the themes behind the story on an entirely cryptic and puzzling note - which is repeated again towards the end of the film to offer an implied sense of closure. This will no doubt prove problematic for some viewers, who demand closure or a character that we can root for and identify with, but as ever, Miike is unconcerned with such routine presentations and instead gives us two warring characters that are both morally repugnant, yet ultimately sympathetic, almost in equal measures.

The tone and presentation of the film is provocative throughout, with Miike underlining the violence of the world in which the film plays out by abstracting it to near comic-book like levels of excess. It's never as bold or as farcical as something like Ichi the Killer (2001), though we can clearly see an attempt on the part of the director to establish an attitude and approach that undercuts the grittier elements of drama to instead present something almost otherworldly (again, this was done more successfully in the underrated Ley Lines). Nonetheless, it can be seen as another example of Miike's subversive approach to cinema, disarming us through shock scenes and outré moments of pitch-black comedy that seem almost purposely out of place within the world of gang war and routine police investigations. It's the kind of film in which scenes of lengthy dialog discussion give way to scenes of gay rape, gunplay and a subplot involving Taiwanese orphans and organ transplants, where the main villain is an eye-gouging, homosexual exhibitionist and the main representation of the law thinks nothing about raping a prostitute or smashing her in the face with a steel chair.

Certainly, it won't please everyone - with the disregard for logic and convention going against our preconceptions of this kind of genre - though again, the film is ultimately beyond such notions. Despite the gangland theatricality and obvious crime-thriller aspects of the plot, Shinjuku Triad Society has deeper themes expressed within the odd similarities between the wayward police officer and the perverted criminal that goes back to the ideas of loneliness, alienation and the longing to fit in. The film ends on a sad note, leaving unanswered questions about the fate of the characters or the actions that led to the climactic revelation, but with the clear implication that the thing we most desire is always slightly out of reach. It may not be as polished or as successful as some of the director's other films - with the obvious low-budget and perhaps lack of experience clear within some elements of the script - nonetheless, this is one of Miike's most interesting and thought-provoking films, made all the more worthwhile by the two excellent central performances from Kippei Shiina and Tomorowo Taguchi.