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Film: The Bird People In China
Release date: 3rd October 2005
Certificate: 15
Running time: 118 mins
Director: Takashi Miike
Starring: Masahiro Motoki, Renji Ishibashi, Mako, Li Li Wang, Tomohiko Okuda
Genre: Adventure/Comedy/Drama/Fantasy
Studio: Siren
Format: DVD
Country: Japan
A change of tact for one of the most outlandish film makers Japan has to offer, who has become infamous to western audiences for extreme horror and crime shockers such as Audition and Ichi The Killer.
The story takes us along a journey with Mr Wada (Masahiro Motoki), our businessman, sent as a late replacement for a sick colleague on a trip to the mountains of China in search of a very rich vein of the precious jewel, Jade. Along for the ride is Mr Ujiie (Renji Ishibashi), a Yakuza gangster, whose boss has sent him to verify the jewel claim, their interest laying in the unpaid debts by Mr Wada's firm. Both are sold on the idea by their respective employers, on the promise of authentic Chinese cuisine.
From their first, unspoken meeting on a train, to their shared, diabolical van ride (wherein the passenger door falls off), it is clear that the gangster is unhappy to be on the trip. Their guide, Mr Shen (Mako), takes the entire trip in his stride, having made the journey countless times and seeing little to be concerned with, despite the impending storms and torrential rain.
As the three continue via converted tractor vans, rickety bridges and turtle powered rafts; they finally reach their destination and begin to swiftly form a bond with the villagers…
Takashi Miike has taken the opportunity with this feature to delve into the lighter side of Asian cinema (a little off the beaten track from his usual psychopath and sociopathic characters). If you are a fan or even a vague viewer of Japanese cinema, you won't have failed to catch a glimpse of this director’s aforementioned more recent films. The Bird People Of China, however, is the breakthrough 1998 film that made Miikes' progression possible.
The title of the film gives the impression that you might be entering a world of fantasy, and, in a way, that’s an accurate assumption. Wada and Ujiie are stranded, following their guide’s bout of amnesia, and, as such, are free to explore and live the lifestyles of the villagers. While enjoying this new found existence, they witness the children of the bird school breaking in their new ‘wings’, and discover the upright, tail end of a WWII aeroplane nose planted in a lake.
Mr Wada meets the teacher of the Bird School, Miss Si-chang (Li Li Wang), and spares little time in finding reason to be curious about her and the school, documenting her singing via a tape recorder. The men decide to query the little hamlet and investigate what keeps the inhabitants where they are, but also why they may be willing to give it all up so freely.
The cinematography tells the story as much as the script, not hard given the picturesque and startlingly colourful landscape - mountains that touch the clouds and valleys that travel for hundreds of miles litter this feature. Possibly the most endearing and entertaining image throughout the film is found when Mr Wada, holding a pink umbrella, comes across Mr Ujiie (not the best of friends, given a swift beating earlier in the film) mid bowel movement, and he is ordered to keep the rain off his head while he finishes.
Music and song are provided in the form of village woodwind instruments and the stylings of actress Li Li Wang, which further deepen the viewer’s isolation within this environment.
The underlining subject of seclusion and technological alienation is played out throughout the film, with little shown of the big bad world there yonder. It's the struggle between accepting your place in the world and carving a new path that tortures our characters most, trapped in an existence they aren’t fully understanding of, they find their new lives free of expectation and judgement.
The Bird People In China is a detailed and thoughtful film that crosses a wide variety of genres with real ease. Its stylized/iconic shots detract from any other world and fully immerse the viewer in a land of escape and idealism.
Performances from the two leads are deft, subtle and warming throughout – and it's hard not to appreciate a film with lines such as, “This is Yun Nan and my butt is sore. Now behind a thin wall a Yakuza is taking a shower. I must sleep with him in the same room.”
Takashi Miike, despite his obvious talents, provides only what is needed to a script which is laden with suggestion and clear joy. Reigning in his penchant for violence, he shows another facet to his filmmaking abilities, and perhaps delivers a career high. DWI
Film: Sonatine
Release date: 11th May 2009
Certificate: 18
Running time: 94 mins
Director: Takeshi Kitano
Starring: Beat Takeshi, Ren Osugi, Susumu Terajima, Aya Kokumai, Tetsu Watanabe
Genre: Crime/Action/Drama/Thriller
Studio: Second Sight
Format: DVD
Country: Japan
Sonatine, a gangster film set in Tokyo and Okinawa, seeks to take the Yakuza genre in a sideways direction. What is a gangster to do when he has spare time on his hands?
Starring Beat Takeshi as Murakawa, the writer/director/editor and overall one-man-film crew heads a territory of Tokyo under the rule of his boss and overall crime lord (uncredited). Beat and his gang are to make their way to Okinawa and mediate a conflict between his extended 'family' and the indigenous gangsters on the Island.
From the moment the gang arrive, it is made clear that mediation is under way, and their presence will only subvert any progress for a tentative peace. As such, the group are relocated, or forced to a beach house and left to amuse themselves.
Friendships are garnered through close proximity, which leads the gang to seek any activity available, including emulating cardboard sumo wrestling games, firework forts and some rather nifty dancing on the part of the more aged Yakuza in the gang. Asking if this game playing were not a little childish, one of the gang receives a joyful smile back from Murakawa, and the games continue.
Murakawa, by chance, rescues a somewhat odd girl, who subsequently becomes fascinated with and keeps returning to the gang – Murakawa, in particular. Her bond with Murakawa opens up the opportunity for redemption not only for himself but the gang as a whole….
While this film is touted as a gangster film, it leaves out entirely the conflict that so often predicates such a genre – for example, there are no police. This is a film that centres its attention solely on the activities of a rag tag group of crooks. Conflict does ensue eventually, and blood is spilled, in the form of a hired fisherman/assassin sent to wipe out our happy gang, but for the most part jokes are enacted, and general oddness persists (listening to the soundtrack, you’d be forgiven for hearing some Exorcist overtones, which is completely out of place, but oddly enough fits comfortably within the Kitano Takeshi framework).
One of the earliest and most widely received of the director’s extensive catalogue; the film has a sense of joy and childlike humour that infests (happily) the script, while still offering that violent and surprising aspect of gangland activities. We are treated to a series of sociological acts, Murakawa's penchant for using live bullets in a fake fire-fight, in contrast with his playful taunts about his friend's wayward dress sense.
Performances come subtly from Beat’s supporting cast, many of whom will reappear in subsequent films, and are typified in scenes where dialogue is secondary to the action. The relationship between two recently introduced Yakuza shows the bond of ‘brotherhood’, and while they lark about repeatedly, their understanding that they are essentially on an enforced holiday from their regular gangster duties rarely leaves them, with the older of the two friends pointing out that respect is a constant to the younger man. Murakawa and the girl's relationship, and the games played by them all, seek to humanise and endear the murderous gang to the viewer.
Our love interest is essential to the dynamic of the gang and to Beat's character. While he shows a clear waning towards his chosen career path, this vacation from the norm seems to invigorate both himself and his ‘brothers’. The wayward girl, rescued by Murakawa early on in their holiday, creates a random bond towards him and succeeds in becoming part of the fixtures. There is no worry on their part about her involvement in the gang (possible law complications) and less shown in Murakawa, who even allows her the pleasure of 'having a go' with an automatic rifle.
The location is minimal and the cinematography does little new. In saying that, this is essential. Style never detracts from the story, but the reluctance to glamorise this film only capitalises on what there is, namely a star turn from Beat (smiles that surprise and worry you in their unexpected delivery), but also a jumpy, poetic approach that endears the viewer to both the ‘good’ and ‘bad’ guys. It's the men's acceptance that when they have fought, it is over. No reprisals.
With minimal dialogue, the script is light but covers all the bases with ease, whilst direction is subtle on Beat’s part, but adept. Short, slow, languid shots bind you to the characters and their environment. You can feel the film in a most palpable way. Despite its setting on the other side of the world, Okinawa gives a sense of home, with understated use of light and colour.
You have also to appreciate the wardrobe design - 'Hawaiian' T-shirts raise the biggest smile. Beat, as ever, makes light work of a possible limited wardrobe budget, and revels in his non tie wearing suit combo that only adds to the comical brilliance of this piece.
A small cast film that addresses violence in a charming and original manner. Not the kind of gangster film you'd ever expect to see, but a delight from beginning to end. DWI
