A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
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 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.…
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…
So, bro, I think what they're trying say, bro, is like, this bro is from Tokyo, and bro he's like, drifting. He's the drifter from Tokyo, bro.
Tokyo Drifter es una película muy bien lograda visualmente, en serio, en esta película cada detalle esta muy bien cuidado, la iluminación, escenografía, el vestuario, los encuadres, todo eso acampanado por un excelente soundtrack -imposible que no se te quede pegado el tema principal-.
Por cierto, mientras la veía no podía dejar de pensar en la posible influencia que tuvo esta película en Nicolas Winding Refn y Tarantino, así que en cuanto la termine busque en Internet y...BOOM!!! NWR la escogió como una de sus peliculas favoritas de Criterion, y Tarantino hizo referencia a ella en Kill Bill.
En fin, super-recomendada, especialmente si te gusta las peliculas de Yakuzas.
had no idea what was going on more than half the time but the set pieces we're pretty neato torpedo
Feeling like the Japanese version of Point Blank, this movie is really fun to watch if you're at all into Yakuza films
the bar fight is one of my favourite scenes in any movie. so jarringly out of place in an otherwise mostly serious movie. hilarious.
Godimento visivo puro. La trama è minima ma francamente ininfluente, un mero pretesto per le pennellate di Suzuki: l'uso del colore è infatti nuovamente fondamentale, utilizzato per caratterizzare i personaggi e la loro influenza all'interno delle scene. La messa in scena di stampo quasi teatrale (dovuto anche ai fondi limitati in suo possesso) consente un lavoro di stilizzazione sulle scenografie in chiave espressionista.
Bizarre and disjointed, but beautiful. The saloon fight is an all-timer.
Lots of fun and always cool.
I want to watch a fun movie.
I love arthouse films, but sometimes I just want to have fun, so…