Swallowtail Butterfly

I read through the comments on this film, and was not surprised to see that some people did not enjoy it. That, in my case, is always the sign of a truly great, immensely artistic film. I'm sure it bored some people to tears, confused others, and downright p***ed off a few.

I loved it. I enjoy foreign films, especially good asian films. I loved "In the Heat of the Sun" and "Made in Hong Kong", but this is probably my favorite out of all of them. It's close to the best thing I've ever seen. I like the style, I like the fact that it's in three languages, and I even like the fact that some in the cast were not speaking their first languages. I think that fit into the message of the film, which is that everyone there was in some way or another displaced. I think the idea of a movie about immigrants trying to fit in where they're not wanted is perfect. I think that the speech by the non-English speaking white guy who has never been to America was the summation of the whole film, and Glico's rendition of "My Way" was its heart. Absolutely beautiful, it encompassed so many different aspects of Japanese film-making, and put unique twists on all of them. Excellent movie. If you find it somewhere, watch it. If you're disappointed in the film, sell it on Ebay. If you post it enough times it'll be snapped up by somebody.

A post-modern adult fairytale like this cannot shows up every year and even today, when I have already seen all of Shunji Iwai's films, I still have no clue about where did this one surface. It is fairly easier to comprehend ‘love letter' or ‘April story', based on a single good idea, or maybe a little more hard work and careful planning with ‘picnic', but there is no fixed procedure to follow in order to conjure up a desperate complex like this.

The hand-held camera movements and those documentary-like jumping shoots, which make some people uncomfortable in other Iwai's film, are more balanced with montage here. Nevertheless, it is the director's favorite way of seeing this world and had been intentionally deployed just as a reflection of personal disposition but not a obligation in a drama.

Note that it is vital to have all those cool figures, even the cameos, which is a test of originality almost all pseudo-filmmakers would fall short and, on the other hand, the audiences never fail to appreciate. However, unlike his contemporary Kitano, Iwai seems have been running out of sarcastic wits ever since then, or maybe just he was too much occupied by subtle tragedy-romance receiving enormous popularity among teenagers.Despite this, he remains one of the few promising film makers in new millennium Japan.

While I'm particularly fond of Japanese films, I must admit quite a few of them are enjoyable only because of their unique style, not because of their actual content. Films like Shark Skin Man And Peach Hip Girl are fun to watch, but that's all there is to them. Yentown (Swallowtail's original title), on the other hand, is a prime example of Japanese cinema at it's finest. Combining music and politics, drama and action, social commentary and humor, art film and popular film, Yentown is a true post-modern experience, rich both in style and in content.

The film takes place in the Tokyo of near future, in a ghetto inhabited by immigrants from all over Asia. The status of immigrants is a touchy subject in Japan, and it has been widely covered in many of the recent Japanese films. What separates Yentown from them is that it uses the ghetto only as a starting point, and although the hardships of the immigrants (and outsiders in general) are a major theme, it is only one of the numerous subjects the film explores.

Basically, Yentown is about dreams. The story revolves around a group of poverty-stricken immigrants, to whom a sudden twist of fate gives the opportunity to literally make money and thus realize their dreams. Unfortunately, their luck is not without it's consequences, and even if they get what they've always dreamed of, they may realize they've chasen the wrong dream. This may not be the most original of ideas, but the story is told with such energy and originality, and with such sympathetic characters, that the viewer soon forgets the familiriaty of the basic plot.

Yentown is a type of film that gets even better on multiple viewings. The story is told in a non-linear way which can make the film seem a bit confusing, at least when seen for the first time. There are elements (and even characters) in Yentown used mainly as metaphors, and to careless viewer it may appear that the film doesn't quite properly tie up it's threads. But if the viewer has the courage and patience to watch a film quite different from our Western tradition, Yentown will reward him/her with an unique blend of emotion, wit and beauty.

Simply Brilliant. One of my favorite films of all time. Incredible sociopolitical backdrop, incredible array of characters, incredible diversity of situations, styles, nuances. I love and adore this film from the gut to the heart to the mind. On every level it hits a nerve, and my only regret is that this hefty piece of work isn't longer still because the characters get so far under your skin and burrowed into your soul that when the credits roll you feel as though the vacation has come to an end and you're bidding your friends farewell.

This is really an intense masterpiece. Not only its length of more than 2 1/2 hours, but the carefully developed characters and the twisting story qualify it for a top rank in movie-history. The story itself takes place in the outskirts of Tokyo where a lot of non-japanese people live, looking for the fast Buck (or Yen), for returning home rich. To tell more of the story would be unfair, but be assured it consists of violence, romance, hope and (best of all) the Japanese singer Chara performing "My Way". This is the kind of movie leaving you more than once with a big smile in your face and tears in your eyes, just because this moment is so...I don't know...joyful. Watch it!