There can be little argument against Kitano being one of the finest Japanese directors since the 1980s, having made a number of genuine classics. With Outrage he’s back on familiar territory, telling a story of jealous, tired Yakuza, and the lengths they will go to to remain in power, if not retain their honour.
Lets get the good stuff out of the way – Kitano knows how to shoot a film, he has his own cinematic style, and he has a penchant for explosive violence. Outrage was supposed to be a return to a more familiar style for Kitano and an attempt to regain some of his greatest successes, but it falls short. The story is one we have seen too many times and there is nothing unique in the plot or action. Kitano himself is not the central character, but rather one of several Yakuza main men who are dealing with the needlessly complex developments in what is essentially a simple story. Kitano as a performer is even more laid back than usual, the rest of the cast are fine without having any standouts. The film was well enough received to inspire a sequel which I have not yet seen, along with plans for a third.
I would recommend this to fans of Kitano, but as a starting place for anyone interested in his work I would say that you should leave this one until you are more familiar with his earlier movies. As an introduction to Yakuza movies you could give it a shot, but it may be too dense and distant to fully understand the genre.
Let us know in the comments where you rank Outrage along with Kitano’s other movies!
Kitano comes to America and again shows he is one of the best, most versatile and underrated (in the West) directors. Brother has a lot of action, violence, humour, and style but Kitano still finds time for his usual existential ponderings and quiet, contemplative scenes. It is a film about comradeship, about overcoming racial (amongst others) boundaries to gain respect and friendship.
Kitano stars, with shades, as Aniki Yamamoto a Japanese Yakuza member famed for his abilities, loyalty, and strengths. He is forced to leave the country and goes to America in search of a younger brother he has not seen in years. There he realises that his brother is a small-time gangster, and that he can help his gang to become the most powerful in the city. Soon he sparks up an unlikely friendship between himself and his brother’s gang and earns their respect by his coolness under pressure and knowledge of the trade. His plan works well, but soon other local gangsters decide to team up against him leading to death, revenge, and honour.
Again there is more said in a single glance than by five minutes of dialogue, though Kitano realises the difference between West and East in this regard, and the Americans are shouty from the start. There is the usual sadness throughout the film which permeates most of Kitano’s work, but there is plenty of humour too. Kitano gives another cool performance, Epps is good as Denny, as is Maki as Kitano’s brother Ken who has become Americanised. The violence is not as shocking as in his other films, but is just as sudden, fast, and meaningful. There are few directors around at the moment with this style- emotionally strong, character driven stories with stylish violence, and Kitano is one of the even fewer who can repeatedly pull it off.
The DVD has a couple of interesting extras which add to the value and viewing experience. At under a tenner, it’s a worthy addition to fans of Asian and World cinema
As always, please comment on the movie and the review- Is this amongst Kitano’s best or do you feel he watered things down for a Western audience?
Without sounding like a fan boy the following is Fact. Battle Royale is undoubtedly the most important film of the new century, and quite simply, the best film of the last ten years. All those Oscar winners, modern classics etc are put to shame when placed beside this. Fukasaku’s last film, banned in the US, Battle Royale, based on Takami Koushun’s novel, inspired by others such as the Running Man, A Clockwork Orange and Lord of the Flies, is an intense experience and is the One film Everyone should see. The story is infamous now, 42 school students are placed on an island and forced to kill each other until one remains. If there is more than 1 survivor at the end, they are all killed. It is the Government’s way of controlling the rebellious nature of Japanese kids. Each year one class is chosen at random, and taken off to an unknown destination. The winner returns. Not only a satire on TV, entertainment, education, politics, Japan, America, morality, mortality, it is more importantly a story about trust, loss of innocence, love and growing up. The final line of the movie? ‘What would your parents say now?’
The film begins with chaotic flashes of the new regime, of the BR act. We see the media frenzy it causes, the manic smile of a previous winner, a young girl holding a bloody doll’s head. We get a flashback of a school, the pupils do not come, the teacher played by the great Takeshi Kitano waits. He leaves and is stabbed by a pupil, Nobu. Another pupil Noriko helps Kitano, but also hides the knife. Then we flash forward. The class is on a bus, going on a school trip. The pupils get up to usual antics, shouting, laughing, taking photos, sharing cookies, and generally having a good time. They are 14. Soon they sleep. When they wake they are on the floor of a room. They have metal bracelets around their necks. Scared, they are shocked as Kitano appears. There are soldiers everywhere. The kids try to be tough, but their new teacher has been killed- he was against the Act. Kitano explains what is happening, showing that he is the boss by killing two pupils. 40 left. An absurd video tells the kids the rules, and the game begins. The pupils leave individually, each getting a bag with food, water, map, compass and a weapon. Weapons range from guns to bombs to bin lids. There are cameras everywhere, if any rules are broken the bracelets are activated and the kid’s head explodes. As each kid leaves, they begin to plan what to do-play the game, wait for their friends, hide, say their goodbyes and run. It becomes clear that the only way off the island is too win. They all leave, and the game begins.
The range of characters here is awesome, never before have we had such a real sense of teenage school relationships. They are horny, some mistrusting, some too trusting, some clever, some reluctant to play, some bloodthirsty. Every performance is breathtaking, considering the actors are 14 or 15, and that this was for many their first role. Kitano is sinister, but we can see things from his point of view, his daughter constantly calling, showing him no respect, his relationship with Noriko. Noriko is the kind girl, quiet but strong. Shuya Nanahara vows to protect her as his best friend Nobu loved her, but is not here to do it himself. Mitsuko is an outsider, with a tragic and tormented past she plays the game. Chigusa is an athlete, in love with Hiroki, who is in love with Kayoko, but none of them have told each other their feelings. Shinji Mimura is a hacker whose uncle was a freedom fighter. Throw into the mix two wild-cards, exchange students Kazuo and Kawada and the game takes many twists. We see the choices they make-some could never play the game and kill themselves, often in heartbreakingly real circumstances. Others wait, hoping that everyone else will be killed, others gleefully join in, but we can understand each of their reasons and soon feel hatred towards the system which has forced this upon them.
The violence and content caused the ban, but the truth is that the film is not very bloody or exploitative. The deaths vary, some are darkly funny, some very moving, others we believe are deserving. We grow to know the main characters, hoping they can find a way out, but know this is unlikely. The ending of the game is a shock, but there are still a few funny moments afterwards. Certain scenes will wrench your heart, as we watch best friends killing each other, and we are forced into thinking what we would do. After Columbine this may seem sick, but the film is anything but, placing the blame squarely on the older generation. The kids have their faults, but these are not worth being killed for. The lighthouse scene is one of the most tragic ever filmed, and it all seems so inevitable. The final scene involving Hiroki and Kayoko is moving and will make you understand that as life is short we should not let fear get in our way. Perhaps the most moving part is the basketball victory scene, we see Mitsuko begin to cheer, but slowly moves away, looking back, as she knows she doesn’t fit in.
The music adds immensely to the film, orchestra blaring, and the reference to Springsteen, about not giving up, will stay with you even if you don’t know the song. Filmed beautifully- The island looks idyllic, even though it is where they die. Thematically it has great depth, but it would take another 1000 words to cover the basics.
This should be mentioned alongside Seven Samurai, Vertigo, Star Wars and The Godfather, as one of the best films of all time. This Double Disc Special Edition has some great extras, particularly the making-of documentaries, and the added and extended scenes.
As always, please share your views on the film and the review? What would you think of a Hollywood remake? What would you do if you found yourself on an island where you had to kill to live?
As a fan of the more extreme side of cinema, I ask you to join me, as I explore the history of Cinema's most extreme movies with all the sex, violence and symbolism intact. I'm here to reflect on the extreme movies that have come and gone to see what they mean, see what makes them so extreme, and of course, see if they're any good.