Kamikaze takushî

I won't say it's a bad film, I am usually never deceived by a Japanese crime flick, but if you consider this very topic, a couple of men fighting against the mob, yakuza mob, I highly prefered Ishi Takashi's GONIN, made the same year. the film making and overall treatment were so different. yes, different, and less boring. Nearly three hours is far too long for my taste. And maybe am I not enough a specialist of the Japanese spirit to totally get this feature soul. I usually like Rising Sun country movies because they are bleak, dark, brutal, with rarely happy endings; that's all. That doesn't mean I am immerged into the Japanese soul. Most of Samourai films are too hermetic, whilst being very poignant and gripping to me.

A well dramatized picture with interesting characters. Combining entertaining action sequences while tackling social issues at the same time. Probing into the homogeneity of Japanese society and touching on the delicate issues of Kamikaze pilots and the position of Women in Japanese society. All main characters have depth and plot twists are enjoyable.

In my humble opinion the movie was quite nice but too long. Some kind of abridging should have been done.

Kamikaze Taxi is a quirky, innovative social satire that is well worth watching only if you are open to seeing a different style of film. This is certainly not the usual Hollywood action film but more for the art-house cinema-buff crowd who enjoy cult films.

The aspect of Japanese living in Peru and Brazil is in itself intriguing. There are the cultural differences and insights into racial problems which offer an interesting mix. Viewers who peer beyond the violence and sex in this film will find much to rouse their intellect.

This film is unique in how it weaves various fabrics of life that are normally separate and often contradictory. For example, we hear magical Peruvian pan pipes played by a Japanese man standing, not high in the Andes, but in a lush green Brazilian forest. The spiritual yearning of this musician contrasts sharply with the ugly violence and betrayal of those near to him in the beautiful forest.

The film is in Japanese, and obviously delivers its message to Japanese society. Keep this in mind when considering the tragedy, humour, corruption, naivety, idealism, contradictions and poetic style that this film portrays so well. What does this say about the Japanese character? Is it true also for those of us who are not Japanese? Gather your friends and discuss such questions over cups of capuccino or glasses of brandy. There is more to this film than first meets the eye.

From the blurb on the box or the website where I ordered it from, I was mostly expecting KAMIKAZE TAXI to be little more than a festival of violent revenge - and I suppose the name of the film helped with that impression too. First indicator that there might be a little more than that was that it's from the director of BOUNCE KO GALS (Masato Harada), and the second was that it's nearly 3 hours long. The fact I now know that "Kamikaze" means something like "Wind Of God" perhaps shows that the film is a little more than a blood-fest. In fact it's a lot more, a film that spans genres and moods and philosophies and all sorts of things - quite a rare, meandering beast that calls to mind Shunji Iwai's SWALLOWTAIL BUTTERFLY in its scope and capacity for surprise. I was also reminded at various points of Takeshi Kitano's SONATINE, Takashi Miike's DEAD OR ALIVE 2, Shohei Imamura's UNAGI and Shinji Aoyama's EUREKA... tribute to the diversity and depth of the film (or perhaps the presence of actor Koji Yakushu for the latter 2 references :p).

The film begins in a pseudo-documentary style, commenting on the presence in Japan of people of Japanese descent but with foreign upbringing, and how they are not looked upon as "true Japanese" by many of those that presumably view themselves thus. It also makes references to Japan's less than noble involvement in World War II, and the fact that many in Japan are still in denial about it - including some of the politicians. It notes that these Japanese immigrants, politicians with a knack for denial and the numerous Yakuza in the country might not all cross each other's paths that often, but that this particular film revolves around a situation where they do.

Trying to explain the plot is probably counter-productive, but it has a bit of "take the money run", and when the running doesn't work out too well it has a bit of "kamikaze revenge mission" - but it's definitely not that straightforward. How many other films with those genre-staple premises would stop after some scenes and film interviews with the side-characters that took place in them, documentary style? (note that it's interviews with the characters, not the cast). The film makes a very strong effort to develop and explore its characters, even having them spend 20 minutes or so doing self-awareness exercises in a spa.

Like Shunji Iwai's SWALLOWTAIL BUTTERFLY, I picked up the film not expecting much of anything, and was quite astounded by how much I actually got from watching it. I'm therefore somewhat reluctant to sing its praises too highly in case other people pick it up on my recommendation then don't enjoy it for expecting too much. I'm sure not everyone is going to like it - it's

a very quirky, contemplative film whose chief virtue in my eyes is never being predictable in 169 minutes. It's *very* Japanese, and deals with many issues of Japanese culture that might not mean anything to people who aren't aware of them - so it's not one I'd pick to introduce anybody to Japanese cinema. But if you've seen and loved SWALLOWTAIL BUTTERFLY, and at least 2 or 3 of the other films I mention above, you should definitely be planning to pick KAMIKAZE TAXI up soon.