If you're feeling overwhelmed, but still want to squeeze a film into your daily routine, this list is made for…
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…
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…
Well, I've always known that color plays a huge part in film but I don't think that aspect was fully realized for me until now.
Tokyo Drifter is the perfect example of the importantance color has in storytelling, so much so that if I turned off the subtitles I could probably still keep up with the overall plot, motivations and conflicts of the film. This has to be one of the greatest gangster movies of all time, an instant favorite. Good month so far haha.
A E S T H E T I C
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.
Wow, This film is 50 years old this year. This is a cool movie. At times even on a rewatch I'm a little slow on picking up who some characters are and why they are doing stuff but it all comes together nicely. The music ques, the painting like framing, the use of colour. Its stylizing taken to perfection and its influence can be seen in many places over the past 50 years.
(So Bryan my friend the reason I delayed rewatching is on our film request thing is I was waiting to pick up a copy of the criterion collection release.)
This film has beautiful cinematography, very reminiscent of Nicholas Winding Refn's style. However the film suffers from a disjointed pace and underdeveloped characters. The filmmaker attempted to pack too much into one hour and thirty minutes and I think it shows. However I keep going back to the cinematography because that's where this movie shines. Almost every shot could be a painting, each scene has beautiful composition and lighting. The blocking of the characters is timed perfectly with the camera movement. To conclude, the movie is worth the hour and half watch for the beautiful images alone, but not much more than that.
Tokyo Drifter is the textbook definition of cool.
Nicolas winding refn chose Tokyo drifter as his #1 favourite at "THE CRITERION COLLECTION", This says it all about how visually stunning this movie is.
what happens when the rule of cool achieves high art? Tokyo Drifter happens.
Definitely style over substance , but it's done ever so well here. Loved the use of color here in particular, the film is just gorgeous and oozes with flair all around. It's funny and self-aware and I liked how it subverted and almost makes fun of classical tropes.
I didn't really care too much for the overall narrative, which felt overly convoluted but began to draw me in a bit as it went on. I understand that the plot isn't really what matters here, but it still felt lacking in certain aspects.
Still a really great time at the cinema though, checking out Branded to Kill on the big screen next this coming weekend and I'm really interested in seeing how that compares to this.
Kind of a cliche plot, but the style sets it apart from other gangster movies. The last 20 or so minutes are especially great.
Yeah it looks cool and has a great shootout at the end but I couldn't care about the rest of the movie. Just felt too shallow and went so fast that I couldn't take in anything. It just rushes to plot point to plot point. I do have a bias with enjoying slower films but this one was too quick. I hardly got to know these characters and to feel any weight to what was happening.
I know this movie is suppose to parody or criticize film structure. I love movies that experiment but being experimental doesn't make something automatically good. I appreciate the effort but it just didn't work for me.
A cool ass movie.
It looks fantastic. The use of color is brilliant and the action sequences were kick-ass.
That theme is gonna be stuck in my head for a while.
Films where their style fills the screen so absolutely, substance is but an afterthought.
Only added some that I've seen,…