Pistol makes the argument that the discursive elements of Suzuki's genre films were mainly the point. Genre here is largely performative, diced and isolated in time, no edit a logical consequence of the previous. It is distinct, difficult, colourful and exuberant enough to remind of another piece of incomprehensible pulp, Gravity's Rainbow, work that makes me work.
Suzuki is one of the cinema's great formalists. Here he turns in a psychedelic Rorschach test that could have been described as "late Godard remaking '60s Godard" (to establish a shorthand), if it weren't for the film being an example of pure Suzuki! However, like late Godard, this is a work of modern art, where light, colour, sound, editing, design & composition are as important as its baffling & labyrinthine plot.
Another good example of excess of significants and its transformation into an artistic pretentious form: abstraction, artifice, manga influences, etc.,all in a strict pose of wanna-do-art, by all means necessary. From one of the great Japanese filmmakers of the 60's new wave, only, and only, an allegedly strangeness.
Such a classy film. Really different from Suzuki's films of the 60s, but really, really good none-the-less. The last ten minutes is pure distilled, abstract beauty. I can't get over the colors! The downside is that it isn't as thrilling or entertaining as Suzuki's earlier stuff, it's more arty, but something is missing, but at the same time I don't care because it's brilliant!