Tokyo Drifter

A part of this view­ing list: Cri­te­ri­on Col­lec­tion Spine #39: Sei­jun Suzuk­i’s Tokyo Drifter.

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While this is anoth­er Sei­jun Suzu­ki gang­ster film, it is vast­ly dif­fer­ent from Brand­ed to Kill on just about every point. Most notable is the use of bright swathes of sin­gle col­ors in dif­fer­ent scenes; the same set might be yel­low, then fuch­sia, then white at dif­fer­ent points in the film, and the col­or often changes in response to actions from the char­ac­ters. The film is less grit­ty and psy­cho­log­i­cal­ly com­pelling than Brand­ed to Kill, with more of a 1960s pop-cul­ture vibe, com­plete with its own mawk­ish pop bal­lad that var­i­ous char­ac­ters sing through­out the film. Despite this much more light­heart­ed tone, there is still sig­nif­i­cant ten­sion sur­round­ing the main char­ac­ter’s role in a com­pli­cat­ed gang war.

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This film is a good data point for mak­ing an argu­ment that Yakuza films are just updat­ed samu­rai flicks. The main char­ac­ter, Tet­suya, is the equiv­a­lent of a ronin, except that while he thinks he’s left his gang, he’s still being used by it as a light­ning rod to under­mine oth­er gangs in places out­side of Tokyo. This is fair­ly super­fi­cial to the main focus of the film, which is Tet­suya’s process of self-actu­al­iza­tion, but the twain meet in the final shootout. The film’s excel­lence is due to how stim­u­lat­ing each scene is, due in large part to the afore­men­tioned col­or schema, and fleshed out with the con­stant plot twists, musi­cal inter­ludes, styl­ized bat­tles and preter­nat­ur­al abil­i­ties of the var­i­ous gun­men in the film.

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The com­pli­ca­tions of the plot are revealed in snip­pets much like man­ga or ani­me, the rapid changes and rever­sals are con­fus­ing, but slow­ly con­geal into an emo­tion­al tenor that reflects Tet­suya’s grow­ing cog­nizance and dis­gust with his sta­tus as a pawn of the crime lord he looked to as a father-fig­ure. It gets a bit con­fus­ing at times, there is anoth­er assas­sin, who looks a bit like Tet­suya, named Tet­su­zo [both of them are called Tet­su at var­i­ous times in the sub­ti­tles] which made me think that there was a weird mul­ti­ple per­son­al­i­ty sub­text going on. This film’s place in the Cri­te­ri­on Col­lec­tion fits a spe­cif­ic niche of Japan­ese film­mak­ing that is usu­al­ly over­looked. It is easy to see how Suzu­ki drove his stu­dio’s bat­shitin­sane, his styl­ized cre­ations are awe­some, but a def­i­nite trend away from the sure-shots that stu­dios usu­al­ly like best.

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