Film: Kikujiro
Release date: 26th September 2005
Certificate: 12
Running time: 117 mins
Director: Takeshi Kitano
Starring: Beat Takeshi, Yusuke Sekiguchi, Kayoko Kishimoto, Yûko Daike, Kazuko Yoshiyuki
Genre: Drama/Comedy
Studio: Pathe!
Format: DVD
Country: Japan
From Japanese actor/director/writer/editor ‘Beat’ Takeshi Kitano comes a surprisingly endearing comedy drama which fans of the multi-talented Japanese screen connoisseur might struggle to bear relation to. While the themes of hard violence and gangster underworlds are left in the distant background in this heart warming adventure, Kitano dares to show another thread of his aptitude in exploring an altogether different genre, which may disappoint old fans and attract new ones.
Set during a hot summer, where it seems the world and its children have left suburbia for the beach, 9 year-old Masao (Yusuke Sekiguchi), who lives with his grandmother, is left alone at home with nothing to do and no-one for company. With his grandmother at work, and no father to speak of, Masao seizes the chance on coming across the address of his mother to track her down and finally meet her.
When a family friend (Kayoko Kishimoto) and her lazy, gambling, ‘good-for-nothing’ husband Kikujiro (Takeshi) rescue Masao from some bullying teenage thugs, she takes pity on the boy, and on discovering his big plan, insists Kikujiro accompany him on the task of finding the mother, telling the grandmother they have gone to the beach.
Here begin the frolics! When Kikujiro squanders their money on booze and betting before they have even left the city, there is nothing to be done but hitchhike their way, relying on the kindness of strangers and their ability to exploit it. A host of good, bad, and ugly encounters ensue along their expedition, and allow for an emotionally progressive adventure to develop within the characters themselves. And so the end of the film reveals the story not only as an entertaining road trip, but ventures as far as to admit itself a story about a journey of self-discovery…
Takeshi, who has taken himself out of a genre he has previously found great success in, challenges himself by jumping in to a very different one in which he proves his boundless talent – as far as his writing and acting performance is concerned. His character Kikujiro is an outright bully, who has the shameless audacity to openly offend strangers, and manipulate them for his own ends. And yet, throughout the film, the audience find themselves warming to him and his almost clumsy enthusiasm in helping the boy. We see in episodes showing his secret (and quite unsuccessful) attempts to acquire skills others possess and he does not, like swimming and juggling, an amusing but also sympathetic depiction of an innocent quality in an otherwise abrasive man. The slapstick humour in the film surrounding Kikujiro, something Takeshi is known for as a television comedian in Japan, also brings an extra dimension to Kikujioro, and softens an otherwise overly brazen character.
The story is simple but strong, and essentially centres on the relationship of the two protagonists. Shy, polite, respectful Masao balances a loud, brash, selfish Kikujiro. Between them, there is a balancing act of contradictions which cleverly echoes amongst other elements in the film; the uncaring mother, the soft hearted leather-wearing bikers, and Kikujiro’s character itself, the kind-hearted bully.
In the end, equilibrium is achieved through a series of balancing factors and contradictions, and this theme of contradictions aligns with the dark humour in the film. Western viewers, and those unfamiliar with Takeshi’s previous work, might be surprised with certain scenes. In one initially humorous exchange between Kikujiro and an unrelenting lorry driver, Kikujiro ends up beating him with a metal pole. Although the scene is shot from quite a distance, the violence may come as a surprise. Similarly, towards the beginning of the film, Masao encounters a paedophile. Although he is rescued by Kikujiro before it seemingly goes too far, an audience may find it out of place in a film with an almost constant presence of humour in every other scene. Nevertheless, these darker scenes inspire sympathy from the viewer as to how much Kikujiro cares for the boy, and so however unappealing, serve a somewhat insightful purpose in as far as character portrayal is concerned.
Arguably, where the film stumbles is in its length. Takeshi, as a director, is known for his prolonged periods of inactivity in scenes, giving him his distinctive filming style. Indeed, slow shots are an attractive option in order to keep the viewer thinking and retain suspense, which is needed to a certain degree in this film, with no particularly eventful, thrilling storyline to concentrate on. However 116 minutes is a long time to expect an audience to hold its concentration in scenes where, when it comes down to it, nothing happens.
Takeshi boldly attempts a project combining his television comedian personality with his more serious, established filming style to produce a funny, heart-warming caper that’s maybe a bit on the long side. The darker episodes add dimension to an otherwise lacklustre storyline, and Takeshi’s performance is nothing but entertaining, especially to an audience unfamiliar with his work. Those unused to seeing Takeshi in a comedic and non-martial role may find Kikujiro something of a letdown, whereas those newcomers to the man should find it charming in its own distinct way. MI
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