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…
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.…
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…
Tokyo Drifter moet je zien om twee redenen: de prachtige plaatjes en het geweldige titelnummer dat steeds terugkeert.
Het verhaal en de karakters zijn helaas enorm plat en leeg. Tetsu Hondo (Tetsuya Watari) volgt zijn Yakuza-baas Kurata als hij het rechte pad kiest. Wanneer een rivaliserende bende een van hun gebouwen probeert over te nemen, steekt Tetsu daar een stokje voor. Tijdens een gevecht vallen door Kurata doden, maar Tetsu neemt de schuld op zich. Hij vlucht, maar de bende komt achter hem aan om hem te doden. Als Kurata dan een akkoord sluit met Tetsu’s leven op het spel, keert Tetsu terug naar Tokio voor een laatste gevecht.
Tokyo Drifter draait om stijl; het is jazz, het is een…
Moderne samuraifilm. Eer, verraad, verschillende clans, vechtscenes.
Visueel gewoon belachelijk indrukwekkend. Elk frame is een poster waard. Wat ze zeiden over Only God Forgives, maar hier is er dan ook een film mee gemaakt. Hele leuke sixties vibe, Het gaat enorm snel vooruit, het is niet meteen allemaal even duidelijk.
You know when you watch an old movie and just long for physical objects? The textures of clothes and hair, the weight of an actual phone or gun. Steam from a train in the snow. All the subtle details real film captures. There should be a word for this feeling. I bet the Japanese have one...
I don't want my ideals shattered till I see the truth with my own eyes.
Now here is a movie that was ahead of it's time. Director Seijun Suzuki was on his way to being fired from the studio a year later for Branded to Kill, but I think Tokyo Drifter probably had some to do with that as well.
It's not that either movie is bad, FAR from it. It's that they fly in the face of established tradition with Tokyo Drifter being an offender of Yakuza films.
Instead of embracing the usual tropes of the genre Suzuki almost makes a statement about himself with the character of Tetsu played by Tetsuya Watari.
He's loyal to a fault…
* Yakuzas are Samurais in Suits
* The showdown at the end is the best thing about the movie
* The singing justifies the title and the fact that he drifts from one gang to another
* its very clear the director prefers style over substance,there's no character development and i wish the movie was longer.
* to be honest i prefer Branded to Kill over this
P.S One of the sexiest movie posters i have seen!
This did nothing for me to the point that I have very little to say about it. It's sporadically visually magnificent, but the narrative is really oddly structured and clunky, to where it takes about half the film to set up the Drifter as a drifter. From what I've seen of Suzuki, I think I vastly prefer Fukasaku's grimy, sprawling yakuza flicks of the 70s. Cool pink muzzle flashes, though.
Sadly, not so enchanting as when I first saw it years ago. Suzuki's not really interested in storytelling or creating relatable characters, but his excuses for style remain unparallelled, with perhaps some of the most striking uses of color outside Demy. Now that I'm older, I can see the French New Wave influence, and how much of this movie is really influenced by Japan's increasing westernization. It's not a BAD movie, but I've seen better Suzuki (Youth of the Beast remains awesome, and Fighting Elegy is at least entertaining). To be honest, seeing this again was kind of a downer, and I really hope when I finally watch my copy of Branded to Kill I'm not let down.
‘Tokyo Drifter’ comes off as a cultural artifact of the 1960’s to me more than a film I can actually connect with, even on any kind of superficial level. I do like those pink muzzle flashes, though.
Exercici d'estil més proper al noir americà -si no fos per aquest component hiperbòlic i teatral tan propi del Kabuki, encara que aquí estigui més relacionat amb l'estètica formal que amb el maquillatge o l'expressió facial-, que al cinema de yakuza japonès, amb uns blancs rebentats i solaritzats, negres sense textura i una explosió colorista pop que embolcalla a les mil meravelles una història d'honor, desamor i venjança.
Escenes de discoteca innundades de música i ball, una atmosfera melancòlica i errant que reconfigura de nou el paper històric però vigent del samurai solitari en la societat moderna del japó.
En definitiva, un experiment de traca i mocador que recorda al cinema d'algú altre...un deliri d'art i assaig.
Ganes d'entrar de ple amb la figura de Seijun Suzuki. Arribo tard, oi?
- My Neighbor Totoro
- Grave of the Fireflies
- Final Cut - Ladies & Gentlemen
- For All Mankind
- Grand Illusion
- Seven Samurai
- The Lady Vanishes
- The 400 Blows
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 186/760 (24%)
- Grand Illusion
- Seven Samurai
- The Lady Vanishes
- Crook's Tour
UPDATED: February 20, 2014
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…