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.…
Visually beautiful. Enjoyably over the top.
A god-damned buffet for the eyes. Super stylish - featuring the best powder blue suit you've ever seen.
If you're wondering how cool the protagonist of this movie is know that he sings his own (amazing) theme song before taking on and surviving against a lot of mobsters.
It shouldn't surprise anyone that has read something I've said that Seijun Suzuki is one of my absolute favorite directors because he is a director who is clearly primarily concerned with the cinematography. The color cinematography here is brilliant and is especially vibrant coming after the equally beautiful high-contrast black and white opening scene. Suzuki's camera moves with intent and my seeing his films so early probably exacerbated my unabashed extreme fondness of camera movement and particularly its use in creating an abstract representation of character expression or action. Though the story is interesting it doesn't necessarily have to be when the visuals are this consistently striking/remarkable/impactful. 10/10.
Its cheeky tone wasn't really my cup of tea nor was the plot anything particularly special, but it was visually arresting enough to kinda win me over.
P.S. It's better than Tokyo Drift.
Criterion spine #39
After watching both Branded to Kill and now Tokyo Drifter, I've come to the conclusion that I just can't get into a Seijun Suzuki. Almost immediately in both films, I felt confused by what the hell was going on. This rarely happens, so it was quite strange when it happened twice with two films from the same director.
While I think this flaw is largely on me, I also think that Suzuki doesn't do that great a job of introducing his characters or setting up what his story is. When it comes to characters, I often kept confusing who certain people were.
I like Tokyo Drifter slightly more than Branded to Kill, due largely to the beautiful colors Suzuki gets out of his sets, which are by far the highlight of these films for me. These aren't bad films, but they just seem to not quite be in my interest level.
A pretty delightful pop confection.
It's as though the Adam West Batman TV series crashed head first into a "Beat" Takeshi yakuza film. Weird and wonderful.
A drifter needs no woman
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 196/776 (25%)
UPDATED: July 27, 2015
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…