High praise indeed, but just how good is Takeshi Kitano as a director? Like most western audiences, I am most familiar with him from his tremendous acting performances in films such as the manic but brilliant Battle Royale and the sombre Merry Christmas, Mr Lawrence. Since then, like many, I've admired his acting prowess, but I am a bit of a latecomer to his career as a director. So, over the next few weeks, I'm filling the gap in my knowledge and am going to watch the first seven works in this man's cannon.
Our first stop is, fittingly, Mr Kitano's directorial debut, 1989's Violent Cop (or the literal translation, That Man, Being Violent). Now, I'm not sure about you, but on seeing that title, I was expecting something akin to a JCVD/Steven Seagal bloodfest but with less fist fighting. I'm so glad that this couldn't be further from the truth. That's one reason why I prefer the literal title, it aptly describes the simplicity of the film, but much like the title, the picture isn't straight forward.
Although other articles have done this much better, with great verbal finesse, no piece on this film would be complete without a brief history of its origins. The original premise for the film was a comedy about a man whose only emotional response to the world around him was that violence. Now, to me, that sounds like a pitch for another Will Ferrell/Adam Sandler man-child picture and at the time, that's exactly what Japanese audiences would have expected from Mr Kitano. Back then, he was known primarily as a comedian - one half of The Two Beats (for a western comparison, he was quite similar to the role Vic Reeves plays in his double act with Bob Mortimer). Closer to home, we know his comedic side better from the platform-game-brought-to-life that is Takeshi's Castle. The titular Takeshi? Yep, that's Takeshi Kitano. In short summary, the original director had to withdraw from the project due to illness and, because Mr Kitano had expressed an interest in direction, the studio allowed him to helm the film. Extensive rewrites were performed and voilà! the strange beast we know was Violent Cop was born.
"Strange beast" is definitely an apt way to describe this film. On the whole, the pacing is slow, dialogue is minimal and the movie feels expertly controlled by its director, which is a great complement to his natural abilities in this area. These qualities are also found in any scene when violence is committed by its main character. The timing almost veers towards slapstick (my mind instantly turns to the Three Stooges-esque slap that Kitano gives to a man after a bus has pulled off). However, there are several sequences dotted in the film where violence (literally in one case) explodes onto the screen, chaotic and free. Not only does the gratuitous violence from these scenes feel pulled from a different picture, but each feels different to another. Violence may be presented with great variety, but it is never in a complimentary manner. It is always shown as the horrid perversion it is.
Visually, the film is dreamy. Well composed and carefully shot, it is definitely a beautiful film to watch. This is nowhere more apparent then the finale, with its clever use of light and shadow. Except for this sequence, it is a refreshingly direct film, lacking in any pretense or "quirky" angles. Mr Kitano also shows that he is not afraid of alienating an audience and his bravado is rewarding and inspiring. There are several long sequences where it seems that Mr Kitano is declaring that this is his film and his story, he is going to tell it exactly how he pleases and the movie is definitely better for that. By allowing him to develop a distinctive sense of image, the film improves as it progresses.
Plotting wise, well, there is barely a plot - in fact, there is a strong argument that the first hour simply introduces the players in order for some sense of a story to begin in the final half hour. This is not a problem however as it gives us time to realise that the titular character may be violent, but he is not fundamentally a bad man. It is his incorruptability that keeps him his job after his violence once again lands him in trouble. In this sense, he is a very pure character, easily to work out and therefore easy to get behind. Mr Kitano has also surrounded himself with some very capable actors who aid in making this first hour so interesting. In spite of a couple of amateur-esque supporting actors, the film is incredibly well developed by its actors.
Overall, what is most impressive about this film is the control that Mr Kitano has over his camera. One film into his oeuvre and he already feels like an accomplished auteur (yes, I speak pretentiously and yes, those are probably the only French words I know). The film definitely has its flaws and its intentions seem muddled at times, but it is one hell of a début and I eagerly await the next.
Next up: Boiling Point
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