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.…
Suzuki makes the kind of gangster parodies/homages that Godard seemed to try so desperately to do.
60'S JAPANESE GANGSTERS IN TOKYO.
This might be Suzuki at the height of his genre film powers, before he would blow the whole thing up with Branded To Kill. A standard Yakuza picture becomes an avant-garde playground of beautiful color cinematography. Also, any movie where the main character sings his own theme song is A-Okay in my book.
La fotografía mola bastante y hay un par de momentazos sixties muy guays.
gangster pop, tongue if not firmly in cheek than still up against it
"Let this gun be a memento of Tetsu the Pheonix."
Man, it took me way to long to watch this film. I think I ultimately watched it in 3 parts because I just couldn't get into it. I even debated on not finishing it at all but I have a strict "you finish what you start" policy when it comes to movies.
The story feels extremely abrupt and disjointed to me. I could barely follow the plot even though I feel like it would be very simple if someone would explain it to me.
I admit, Tetsu is pretty cool and the film has some nice shots because it plays around a lot with colors and light. Also the theme…
Gebt euch im Kino, wenn möglich.
Suzuki is a master. Plays like high parody. I can see touches of him in Tarantino, Wes Anderson, Kaurismaki and many others. I also see in him a little bit of Frank Tashlin. The whole world is, to him, a cartoon, a piece of pop-modernism.
Suzuki makes brilliant use of color throughout and carries some of the most interesting framing in any movie I've ever seen. Suzuki loves to frame people from behind and leave large sections of the image empty. Everything is staged, like images from a magazine.
I couldn't follow most of the dialogue, but I didn't really need to. On another pass through I will pay more attention to the actual plotting of the film. For now I'm so in love with the visual environment, that nothing else really matters.
Owned - Blu-Ray
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 190/768 (25%)…
UPDATED: May 18, 2015
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…