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.…
It's just so striking. Visually, and in the fractured narrative, the surreal set design. In a piece about the archaic ethics of the yakuza vs the brutal modern world the garish palette of the 60s just seems absolutely perfect as a backdrop. It's chaotic and absurd. Like life.
This is beautiful, stylish, and has a great soundtrack. I really liked the bold art design of the film especially during the scene at the end. I really enjoyed this and I look forward to seeing from Suzuki.
Tokyo Drifter : A Phoenix of Film History.
Through Tokyo Drifter (1966), visionary director Seijun Suzuki shows us how & why Cinema is different from other art form. This voluptuous and bizarrely jazzy film remarkably signifies how faithfully cinema can absorb other art forms and the history of cinema itself. It’s a singular achievement in the history of film which will never be outdated in spite of being copied and ripped up in thousand other films.
Seijun Suzuki, the bad boy of Japanese New Wave film, goes beyond every single limitation in production of Tokyo Drifter. In 60’s, he was the ultimate fire of Japanese B MOVIE. But, the legendarily notorious Nikkatsu Corporation, the shrine of B movie and the then…
Cool movie. Don't know what was happening tho.
Now this is pop-art filmmaking taking to a lurid, batshit-crazy degree. Sizzlin' Seijun Suzuki lays waste to the gangster genre as he mixes his twisty noir plotline with MGM musicals, John Ford westerns, Blake Edwards comedies (yes, he manages to reference The Great Race!!!), Sam Fuller B-movies, and just about every other high-and-low film-genre you can think of. The story--not like it matters at all--concerns the awesomely named Tetsu the Phoenix, who is forced into a drifter's life when a rival gang places a hit out on him. He's one of those stock gangster types who's trying to get out of the biz, but whose past makes it difficult for him to COMPLETELY forget his past-life. It's a story as…
Not quite enough substance to bolster up all that cool. For style a 10/10. But that style wears thin when the story and characters within have such a cartoonish feel.
Amazing set pieces. Seijun Suzuki's interesting, chaotic, hard-to-follow style really shines through.
Alas, poor Tetsu. Destined to walk the sepulchered streets of Shinjuku, a doomed husk of a yakuza. Do not cry for him.
Tetsu's story is quite tragic, though. He's the best of the best, a shining paragon of honor that can kick enough ass to tenderize a solid slab of Kobe beef, but only when provoked. He's the type of gangster to ride or die, even when his crew has gone legit. When a rival syndicate interferes with his boss' debt closure in a hostile takeover attempt of their lucrative real estate, bodies hit the floor, and Tetsu the Phoenix goes on the lamb, dashing across a winter-washed Japan until he gets as far south as he…
I love the sets, the lighting and the music, but the writing is awful and some of the editing is really strange. The finale earned it back a lot of points.
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 196/776 (25%)
UPDATED: July 27, 2015
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…