Doesn't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…
Tetsu has joined his yakuza boss in going straight, but when a rival gang threatens to bring them back into the gang wars, Tetsu must become a drifter to keep the pressure off his old boss
There comes a point in which an artist, after developing all of the components of his cinematic vision independently through experimentation and genre variety, makes his style evolve up to a point of reaching a peak. This peak represents the stability of it all, and has a voice of its own. It puts everything into balance and allows for the artist to finally express what he always wanted to express with a distinguished sense of expression.
Calling Tokyo Drifter a stylish yakuza color film is an understatement out of this world. Tokyo Drifter opens with a black-and-white tone and an unforgiving aggressiveness, highlighting particular objects with vivid colors like Suzuki previously did in Shunpu Den (1965) for dramatic effect. After…
He's the Tokyo Drifter. Drifting, drifting on and on. Till memories of Tokyo are gone.
When I watched this a while back, I knew I had fallen in love with the film when that "Tokyo Drifter" theme started cracking and scenes of Japan nightlife rolled past in the background. And after rewatching it again tonight I learned two things.
1. That theme never gets old
2. This film somehow got even more cool.
I imagine if Le Samourai mad Blade Runner had a one night stand and produced a bastard child, Tokyo Drifter would probably be that bastard child. Or something very similar to that... It's like an antithesis to a noir film. It's got the *almost* loner type main…
Whilst Tokyo Drifter might sound like just another yakuza film - about a yakuza member who has to become a drifter to avoid problems with his rival gangs and with his boss -, Seijun Suzuki's film turns out to be an incomparably rich exprience that shows how far ahead of his time the Japanese director was.
Tokyo Drifter won't win your heart with its simple, yet well written story, Seijun Suzuki wins your soul by compiling several little details that turn his film into something remarkable, a film that can define the words 'cool' and 'stylish' with a single frame.
Japanese director Seijun Suzuki provides you an incomparably rich visual experience as Tokyo Drifter might be one of the most…
What seemed like a stylish yakuza film with a straight forward story turned into one of the sleekest, coolest things I can think of in that final showdown. If the disc were in better condition, I would screencap just that scene. It's set in a bright room that seems to have no walls, due to the design of it (solid colors all around). Thus, the statues and piano and so on seem to be floating in a void, yet there's still structure to it. There's still reason to it. The confusion created during the conflict seems very intentional--misdirection, not bad direction. It's not exactly tense. You don't think Tetsu's really in danger, but it's so well choreographed that there's a…
To call Tokyo Drifter aesthetically pleasing is as unsatisfyingly lame as saying that it has good cinematography. Such generalizations fail to capture the artistry in every frame of Tokyo Drifter and do director Seijun Suzuki a great injustice.
Everything—from the color palette, to the film stock, to the music, to the editing, to the camera gliding effortlessly through shots or remaining stoically still—feels meticulously crafted within an avant-garde, surrealistic framework. A lot of people rave about the French New Wave films of the 1950s and 1960s, but rarely has, say, the surrealistic mise-en-scène of Godard scratched my "film lovers itch" the way that Suzuki manages with this film.
The story is what it is—an archetypal Yakuza crime tale. But this…
Film #7 in The June Challenge
Tokyo Drifter is an incredibly beautiful looking movie, with an intensely stylistic visual language that bursts onto the screen in an explosion of colours. Seijun Suzuki creates an innovative genre picture with this film, one that challenges traditional narrative form and style.
The most interesting features of the film are its editing and production design, each of which are reminiscent of a manga projected on-screen. The film utilizes interesting filters and lighting to create immense visual beauty, and some of the action scenes are elegantly composed. The final action scene is especially notable for the changes in lighting that complement the mood of our hero, as the scene becomes lighter as his rage dissipates.…
Suzuki is a master. Plays like high parody. I can see touches of him in Tarantino, Wes Anderson, Kaurismaki and many others. I also see in him a little bit of Frank Tashlin. The whole world is, to him, a cartoon, a piece of pop-modernism.
Suzuki makes brilliant use of color throughout and carries some of the most interesting framing in any movie I've ever seen. Suzuki loves to frame people from behind and leave large sections of the image empty. Everything is staged, like images from a magazine.
I couldn't follow most of the dialogue, but I didn't really need to. On another pass through I will pay more attention to the actual plotting of the film. For now I'm so in love with the visual environment, that nothing else really matters.
There’s some good stuff here, but it was a little too abstract and disjointed for me to take it all in the first time out. The plot is nearly incomprehensible early on, just a lot of guys in suits arguing about land ownership. Once I got further in, it occurred to me that Tokyo Drifter is more a descendant of Godard than the Nikkatsu studios. Suzuki's use of color especially reminded me of Pierrot le fou. So consider my appreciation of this a work in progress. I might run try running through a few scenes offline to see if I can get anywhere with 'em.
Opens with a stunning bit of black and white cinematography that the rest of the film never really manages to live up to. However, it's still a shitload of fun from that point on. This is a film that is far more focused on establishing a rhythm and riffing on a few key themes rather than trying to tell a coherent story. Key plot details are either skimmed over or left out entirely, and characters just seem to sort of jump from one situation to the next without much explanation as to how they got there. This is entirely by design, and it kept me engaged with its mixture of killer gunfights, homages to American genre films (particularly westerns) and…
What might have been truly weird in 1966 survives five decades today as grand style. The bold colors of this Japanese gangster film jump off the screen and every killing is a pretty picture fit to be framed. The story is simple, though the film tries to complicate it, and the suspense is all but nonexistent. Its tale of a former Yakuza boss gone straight with a loyal henchman (lead actor Tetsuya Watari) eventually cast adrift and how all of that goes wrong is a mere vehicle for director Seijun Suzuki to be a right madcap, obsessed with possibilities of the widescreen frame and color contrasts. It's not so much pulp fiction as it is pulp fiction novel cover art…
I love that theme song so goddamn much.
Seijun Suzuki’s free-flowing pop masterpiece shows us a buoyant, appealing Japan where the swinging sixties has firmly hit. Yet it plays as a critique of the misplaced loyalty the Japanese public held for their superiors in previous decades. In one scene, in response to this betrayal our hero Tetsu shows up to take out a double timing gang in a glowing white suite, killing them all and as he does, the room literally turns white as he purifies their rotten souls.
Ideas too big for the year of its conception.
The movie begins with a lie, a rather interesting first few minutes, and a poor introduction to the film, in an endearing way. The black and white stills begin to transition to color as the credits hit, and your entire view of the film shifts. Color is such an important aspect of the film, that the idea of it shifting to color only after the first scene ends is a bit strange, but seems to be a very intentional choice, making the color all the more impactful, but may honestly push some casual viewers away who just so happened to stumble on the film (black and white certainly isn't for everyone).…
There isn't too much plot going on, but man, this is one cool ass looking movie!
They certainly liked them bold colours in the 60s and making things look cool.
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 190/768 (25%)…
UPDATED: April 16, 2015
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…