Movies that are slightly off.
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…
I'm just not sure if it's going to really happen with me and Seijun Suzuki.
This is the third of his films that I've seen and while I've found all of them to have some fabulous moments, I've also found them all to be slightly incomplete and bitty viewing experiences. While I would say that my lack of real enjoyment of his films is perhaps due to me wanting a less fractured and more coherent narrative, there's also a little bit of frustration here at what I felt could have been.
There's a really good crime movie plot in place here. It's never actually discarded and Suzuki does run with it right the way through. But there are so many…
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 offers his viewers an immensely rich visual experience as Tokyo Drifter might be one of the…
This is we're the party's at!
Seijun Suzuki plays with the nikkatsu universe, with so much visual style it practically becomes the film's substance. Might as well be, as there is no plot to speak of, all we have is a muddled narrative filled with an ebundance of cool.
And I can't leave this little column without mentioning the cinematography and how it's highlighting the colours, sets and visual to make you forget the negatives. Because the negatives do exist, they just don't matter.
Tetsuya Watari is almost too cool to bear as "Tetsu", never ever breaking sweat, and out-Omar-ing Omar and his singing badass shtick. When "the drifter comin'", you better run!
At a smooth 80mins running time, this is the perfect capsule of fun for whenever you might need a pick me up.
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.…
This film is truly on crack. Jazzy, moody, colorful, crack.
Nothing is boring, because Tokyo Drifter is stylistic to the point of sheer insanity.
I liked pretty much everything, and there was nothing to hate.
Has a plot so thin that I thought I'd missed something (I hadn't) and a ludicrous pace, but the vivid colors and liveliness of the whole affair more than make up for its shallowness. A must-see for Tarantino fans.
Its unfortunate that the Tokyo Drifter didn't get a franchise. I love this film! It's pretty ridiculous. But I had a blast watching it. I had seen it a couple years ago, and I enjoyed it. But the second viewing was amazing. This film is just covered in cool with its bright colors and jazzy score.
This was definitely made by a bunch of 12 year olds . It's just so ridiculous , silly and childlike with its imaginative set design and over the top action scenes. It's not a good film, but its lots of fun.
That fight scene though...
Seijun Suzuki is on of the best genre directors ever, probably because he refuses to pick just one genre
Há um quê de depressivo na maneira como o filme trata das relações entre chefe e empregado dentro da yakuza, e isso é curioso se considerar o subtexto de violência com a qual ele se alinha durante toda a narrativa. Cria-se então um paradoxo fascinante no fim, quando Tetsuo (a Fênix, esse mito eterno da ressureição) enfim se liberta da ligação com seu chefe e se torna um andarilho solitário, mas para isso acaba por ter de se entregar à violência que renuncia no início, passa toda a história evitando sucumbir e que meio que o impede de se unir à mulher de seus sonhos ao final.
Isso sem contar a fotografia do filme como um todo. Não só o prólogo com seu alto (e lindo!) contraste, mas também toda a dinâmica envolvendo o vermelho e o azul - que por sua vez passa por um escurecimento bastante sensível e até charmoso no desenrolar dos eventos.
A pop-art explosion of yakuza tropes in 60s Japan. No wonder Tarantino is besotted with it.
A brilliantly surreal portrait of a Japan caught between hypocritical tradition and crass modernity.
Suzuki's strangely punctuated, disorienting approach to narrative suggests a kind of cinematic jazz, remixing the familiar tropes of gangster cinema into something surprising and new.
Great 60-90 min films (for those days when you just don't have the energy to watch a 3 hour masterpiece)
Doesn't the title of the list explain it well enough? This is a list of hight quality "short" films. Easy…
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…