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…
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…
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.…
With its fast paced rhythm as a true musical, along with its alleged Yakuza war plot with a strange aspiration in american Western cinema, Suzuki performs here a wild opera, musical and violent totally unforgettable!
A film that shows you can have both style and substance. The film deals with themes of honer and misplaced loyalty. In a way poking fun at the idea of the warriors loyalty to their master. It does so while looking just about as cool as a film can do. Its clear to see the influence it must have had on John Woo and Quentin Tarantino.
Struggled between 3.5 and 4 for s long time. There are long stretches that play as melodrama, but oh! the rest of it. The saloon fight alone is worth the price of admission.
This is a film about what it means to be a man of honor in an honorless world.
Tokyo Drifter is a yakuza film that abstracts its action with clever mise-en-scène and color schemes. Walls change color with the pulling of a trigger, a scene near the end uses an entirely white set with exclusively white props, and the main character is known for his colorful suits. None of this is hollow creativity: by creating an action story in a space characterized by abstraction, it removes the context for its narrative, allowing the action to simply be action. Any "deeper meaning" behind character relationships or plot developments might thus be nonexistent, as the events occur in no definite place at all. What is left is an explosion of coolness that plays as a creative riff on the gangster film that might make Godard proud.
Every now and then there is just a film that redefines cool. Seijun Suzuki and his flagrant disregard for anything Nikkatsu wanted him to do produced two excellent features that defined his career as a creative but rebellious auteur who would speak to a hip audience, but sink your profit expectations out of the gate. Tokyo Drifter comes across as a film too unique to approach from any sensible angle, as if it is doing everything in its power, from the form to the narrative, to throw you off as a viewer. It very well could be frustrating in less stylish hands, but thanks to Suzuki's wonderful design work and his willingness to experiment at every possible opportunity, Tokyo Drifter…
And this is what I was waiting for. I went to see Smashing the O-Line, Youth of the Beast, and Kanto Wanderer before this, and I found enough flashes of something special in each that I kept coming back for more Suzuki. Smashing pushes against its noirish limits but never quite escapes them, Youth of the Beast throws stylistic restraints out the window for a rollicking but slapdash experiment, and Kanto Wanderer reigns it in, with a confident sense of style harnessed to a meandering story hobbled by (attempts) to explain itself. Tokyo Drifter seems to be where Suzuki figures it out: once you've laid the groundwork, you can telegraph the already nonsensical storyline's development with the slightest expository dialogue,…
gritty, noir-y and visually engaging. interesting to see western influence filtered through japanese culture.
What it must feel like to be a lilliputian living inside a jukebox on an amusement park boardwalk under an aurora borealis sunset.
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…