Bello. Bello è il modo che ha Kitano di raccontare egregiamente le storie semplici e quotidiane, senza usufruire di artifici cinematografici o avvenimenti strabilianti. L'amicizia fra Shinji e Masaru è autentica e fa da perno ad un film che è una riflessione sulla fine dell'adolescenza, quando le scelte che fai iniziano forse a pesare più di quanto non facessero già prima. Uno dei migliori film di Beat.
An affectionate portrayal of adolescent misfits which in many ways shows Kitano at his most socially pessimistic: a Japan where young adults are doomed to struggle, regardless of whether they kick against the pricks or conform to expectations. Legitimate business and institutions are shown to be as corrupt and hypocritical as yakuza clans. The optimism of the film's final moments are therefore poignantly ambiguous.
Despite showcasing his habitual technical flair, Kitano delivers a very confused story, one that appeals to a particular nostalgic reminiscence of youth, more wishful thinking than fact though, ultimately a deeply vague commentary, often misguided, with its cocktail of wannabe gansters & pussy-like characters and obssesive focus on particular tangential segments whilst others float adrift like abandoned satellites.
Always something absurd happen that leaves me confused, I feel like the director was sometimes making fun of the inteligence of the characters.Gansters will always appear sometime, like creating it's own reality- I loved this movie, specially it's color and atmosphere. I dont have much to relate with but it did remind me of my old days.
Cinematography by Katsumi Yanagijima. "Desire" list. The recent viewing of Tsai Ming-liang's "No No Sleep" made me recognize in the exquisite Masanobu Andô someone from a previous film, like a relationship remotely stored in memory for its emotional closeness. A search led me to this film and the memory cleared: the Adonis of the recent movie was this handsome misfit that so well integrated Kitano cinema.
one of the most beautiful works on color, the red and the blue constantly fighting over the geometrical frame - it's like Kitano creates two different universes (the vivid colors and the cold geometrical framing) in the same shot, a battle like Shinji and Masaru often fight
Kitano's first great film? Misce en scene, immensely complex shot/reverse shot patterns, blocking in depth, tonal counterpoint. He won't equal this one until ACHILLES AND THE TORTOISE; both are pathetically undervalued in the West, not following our pre-occupation with genre and cathartic violence...