Synopsis
After botching his latest assignment, a third-ranked Japanese hit man becomes the target of another assassin.
1967 ‘殺しの烙印’ Directed by Seijun Suzuki
After botching his latest assignment, a third-ranked Japanese hit man becomes the target of another assassin.
Jô Shishido Kôji Nanbara Isao Tamagawa Annu Mari Mariko Ogawa Hiroshi Minami Iwae Arai Franz Gruber Akira Hisamatsu Hiroshi Midorikawa Tokuhei Miyahara Hiroshi Chô Takashi Nomura Atsushi Yamatoya Yû Izumi Takashi Seyama Masaaki Honme Mitsuru Sawa Shiro Tonami Akira Takahashi Shinzô Shibata Tessen Nakahira Wataru Kobayashi Yoshigi Ôba Ken Mizoguchi
La farfalla sul mirino, Il marchio dell'assassino, Tehtävänä murha, A gyilkos jele, Koroshi no rakuin, La marque du tueur
Suzuki is one of the most versatile directors of the Noberu Bagu, which is compliment enough, even if he is not necessarily the best. He shifted from noir tributes, to exploitation, to anti-war humanist testaments, to treating themes of prostitution in several ways, to cinematic pulp fiction, to flat-out experimentation. Branded to Kill is the bastard son of the peculiarities of the Japanese New Wave: a crime-oriented plot with magically ranked hitmen including one third-ranked hitman that has an unbelievably cool and equally ridiculous fetish for sniffing boiling rice, a wife that is obsessed with sex and behaves like mentally demented, a Ju-On-like femme-fatale lover that surrounds herself by dead birds and butterflies with eagerness for sex and that water…
After completely enjoying the 1967 Takashi Nomura film, A Colt Is My Passport, a wonderful continuation of the rich history of other countries adopting the American Western, and making the genre their own, a LB friend recommended another starring chipmunk cheeked Jô Shishido to my film partner in crime wife.
I walked into this one without any knowledge of its stature or of the history of the director, other than the affectation that it earned a Criterion release. Since watching, I haven’t done my usual perusal of LB friend’s ratings. I have read the Criterion essays included with the disk before writing this.
When the film was over, I was ready to give it 2 stars. Upon gestation, and before…
“Better than all the other man out together” a dancer tells the title character in Tokyo Drifter and the following year Seijun Suzuki pushed the idea to dark comic heights in a nightmare of macho posturing exploding in violence. It is like Welles’ The Trial had gone wild on phallic imagery.
Rest in Peace Master Seijun Suzuki.
Hanada is Ranked Third Hitman. He meets an ex hitman Kasuga who asks him if he can assist him on a job. Hanada agrees. As the job seem easy, they both take a man to his destination point but are stopped by an ambush. While Hanada kills one by one, Kasuga cowardly tries to hide but finally dies.
After the ambush Hanada meets a mysterious women Misako who just wants to die. The next day Hanada gets an contract to kill three men which he does successfully, but fails when to kill his target which was given by Misako. And soon he Branded to Kill and game for survival, obsessive love and warring down…
Your training is inadequate.
-Number One
Director Seijun Suzuki and star Jô Shishido's sixth and final film together would be the one that pushed the studio, Nikkatsu, to fire the director for making a film they claimed to be incomprehensible and unprofitable. A lawsuit would ensue resulting in Suzuki becoming a bigger legend then ever before while also being blacklisted by all major studios. It would be a decade before he was able to direct another studio film while Branded to Kill would go on to become one of his biggest international cult hits with both audiences and critics.
Shishido is the #3 ranked hitman in the Japanese underworld; Goro Hanada. On the job there is none cooler then Hanada,…
You'll be missed man. You managed to bring style, craftsmanship, and a passion for your work to an assembly line and you did it whilst making some of the weirdest, and stylish films out there. Thanks for the movies, and thanks for inspiration.
Seijun Suzuki, 1923-2017
Yazuka-man som älskar doften av ris om kokas misslyckas med uppdrag, jagas av andra i stylish thriller.
Original Title: 殺しの烙印
Year of Release: 1967
Genres: Action; Crime; Drama
Director: Seijun Suzuki
Writers: Chûsei Sone, Atsushi Yamatoya, Takeo Kimura; Hachiro Guryu (based on the novel)
Main Cast: Hachiro Guryu, Kôji Nanbara, Isao Tamagawa, Annu Mari, Mariko Ogawa, Hiroshi Minami
87/100 of A Decade Called 1960s: 2018-19 Edition
19/100 of The Great Action Project: 2019 Edition
Talk about a film ahead of its time. Suzuki's Branded to Kill is a truly impressive action film from Japan, one that feels like a weird blend between a Melville crime film and an exploitation film. It's a unique film for sure, from its weirdly paced editing and unusual story that is at one disturbing and at another funny. It very much is…
filme de demissão do estúdio, onde a necessidade de delírio atravessa todas as maneiras de se existir num mundo onde fetiches não existem para serem guardados, mas servem como fonte de vigor e expansão de possibilidades cênicas, situando tudo num jogo de poder e manipulação que se estende pra lá e pra cá no fio da paranoia, dos perdidos em si próprios, sempre um Outro pra eliminar antes que esse Outro seja você
Goofy and weird and I didn't know if it was supposed to be for a lot of the movie. I liked that the main character is sensually aroused by the smells of rice but that's about all I think I'm taking away from this one.
Definitely a mess. A mess I can understand some people loving, but it’s not my thing. Godard sans the politics and power.
Also, everything stolen from this for Ghost Dog was done SIGNIFICANTLY better in that film than this one. How do you have an idea as great as the sink kill and just blow it so quickly?
The most hypnotic thriller that emerged from the Japanese New Wave. The visual aesthetics combines pop art with the softened realism, that often drifts in sureal zone, and abstract jumps made it a lot quirky in establishing characters and their arc.
White rice really is that good. Utterly confusing but also the coolest film I’ve seen in a minute
In terms of actual enjoyment this is probably a 2/10 but goddamn Suzuki movies are just so effortlessly cool and stylish there’s basically no way I wasn’t gonna love the crap out of this anyway.
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