Thursday 12 June 2014

Review of Hana-Bi (1997)

Shockingly gruesome violence and moments of genuine love and tenderness make oddly comfortable bedfellows in this brutal yet touching film from Japan’s Takeshi Kitano (or “Beat Takeshi”). The film follows an ex-cop called Nishi, played by Kitano himself, who is no longer on the force due to an incident resulting in the deaths of his co-workers. The film takes a while to arrive at these plot points, however, and marks itself out principally as a terse examination of this character. Take the first scene, where he makes two louts clean his car. When one of them falters, he kicks him to the ground. As with a lot of the characters Kitano plays in his other films, violence is something that comes naturally, too naturally. He’s a more unpredictable variant of the Clint Eastwood “Man With No Name” type.

Yet somewhere, buried deep, he has a heart. We learn that his wife is seriously ill, dying, and through his interactions with her we see that he is a man capable of warmth, love, good humour. One very crucial scene has him robbing a bank to pay for them to take a trip away together, and where another, perhaps lesser film, would have dwelled on the excitement of the heist, Kitano plays the scene off cooly, showing only the elements we need to know. He walks in dressed as a police office. He points the gun at the bank clerk. She understands what to do, hands him the money, and then Nishi leaves.

This stripped back style, which amounts to a tranquillity, pervades the film from beginning to end. The film occasionally comes across as using montage. Take the notorious scene early on where Nishi stabs a man in the eye with a pair of chopsticks. It is a brutal scene, yet it is played in such a manner where we see no actual violence. Nishi picks up the chopsticks, and gestures. We hear a scream. Blood falls onto the table in front. The man, chopsticks in his eyes, falls to the floor. But we never see the chopsticks go into the eyes, and the scene is effective primarily with the power of suggestion. It proves Eisenstein’s theory of montage, that the human mind will make connections between random images.

That’s not to say that there isn’t other, more graphic violence in the film. This is one of those films where when people are shot, they die, and we watch them die. It calls upon the viewer to reflect on the senseless nature of killing. It approaches violence in a manner I found agreeable, not exploitative but instead contemplative, befitting perhaps a Michael Haneke film. It also has a good line in guilt, as we scrutinise Kitano’s expressionless face and find, deep down, a sadness.

Yet for a film concerning itself with much killing, death and anger, what struck me as most moving were the moments of tenderness Kitano peppers his film with. The relationship between Nishi and his wife Miyuki, played by Kayoko Kishimoto, struck me and actually takes up a majority of the second half of the film. I came to admire how Kitano observes Nishi’s capabilities for tenderness. There’s a scene where the pair are playing a guessing game with playing cards. Miyuki is holding the cards up, and time after time Nishi is guessing them correctly. Nishi can see them reflected in the mirror behind Miyuki. It’s a beautifully played scene with a sublime little payoff, and it adds brilliantly to the curious tone Kitano is going for. There is also a scene where Miyuki is putting dead flowers in a jar of water, and a man observes that she must be mad to do so. Nishi beats him half to death as a result. The scene, whilst brutal, I nevertheless found moving because of Nishi’s fierce commitment to his wife.

There’s also a subplot involving Nishi’s ex-partner Horibe, played by Ren Ohsugi. Paralysed from the waist down and abandoned by his wife and children, he is despondent and hopeless, suicidal. Nishi gets him some art materials, and a fair portion of the film is devoted to observed his efforts at artwork. It might seem superfluous, but I liked how it brought into focus the twin peaks of his film, brutality and beauty.

It may not please all people. I came to appreciate the juxtaposition of violence and loveliness, because the two seemed to accentuate each other, but some may find them ill-fitting. The film has a non-linear construction which some viewers may find odd or off-putting, and admittedly the film does take a while to settle into what it’s actually doing. But I found it, above all, to be a poetic and sublime film with a purity to the camerawork and a refreshingly pared back approach to the emotions, which run deep. It’s the antithesis of gangster movies which measure their emotions purely in body-counts and it makes me very eager to see more of Kitano’s work. As a study of guilt, hurt, male rage and love, you won’t see many better examples than this one.

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