Certains films ne sont le fruit que d'une seule séquence rêvée qui aura su enflammer la sensibilité d'un réalisateur. On parie ici qu'il s'agissait des superbes scènes où les "terribles" yakuzas s'amusent tous ensemble comme des gamins sur la plage. De grands gamins qui vont ensuite à la violence comme nous allons le matin au travail, avec détachement et résignation. Le mélange des genres et des rythmes fait mouche.
Un leggero ed agile capolavoro, che tratta con estrema facilità e disinvoltura un tema, molto serio, come quello degli Yakuza nipponici. L'eclettico regista dagli occhi a mandorla riesce ancora a creare dei personaggi interessanti ed inserirli in un ambiente ricco di giochi, paesaggi balneari e violenza, tre caratteristiche imprescindibili dei lavori firmati Kitano. Un film di mafia non è mai stato così gradevole.
Kitano's deadpan, cooler-than-thou humor is always his best aspect, as the stoic drama leaves one cold, and thus, leaves one passive during the violence, although it's always very well staged. Sonatine reminds me of his Hollywood-esque, Brother, a film that is often hated, but is slightly better than the others, as there's more of that flippant humor. Yet, like the other work, it too thinks it's too cool for school.
TAKESHI K, barman inspiré mixe ultra-violence, humour, poésie & musique pour ce cocktail étrange, sauvage & délicat. Parfois déconcertant, décousu, hétéroclite, qu'importe, c juste 1 chef d'oeuvre. ....TAKESHI K, inspired bartender mixes ultra-violence, humor, poetry & music for a strange cocktail, delicate at taste & wild at heart. At times disconcerting, disjointed, heterogeneous, whatever, it's a just masterpiece.
An art house gangster film. Takeshi Kitano directs this unique drama with his signature unpretentious style; depicting violence coldly, brutally and without the usual theatrics we have become accustomed to seeing. There is an unusual deadpan quality to most of Kitano's work that may alienate some but here the indifference serves the story. Kitano's character is world-weary. For him, death is a welcome respite.
Zen and the Art of Murder. "I guess they had it coming." "We all got it coming, kid." Most films about organized crime romanticize it. Some don't romanticize it but end up being glorified as 'how to win friends and kill your enemies' primers. This is neither. The honesty of the protagonist regarding his vocation and his mortality is refreshing, and the ending is perfect in its own way. Arigato, Zen Master Takeshi.
This was a seminal film for me when I was awakening to the possibilities of cinema in high school. And it still holds up. Underneath all the charming irreverence there is a dark and brutal heart pulsating and the terrible realization that fates are often set and love does not always transcend. The ending always hits like a ton of bricks and that's a testament to how affecting this film is, even on the 20th viewing.
I liked Sonatine so much more than I expected to. I was quite taken aback by the feelings it evinced in me. It has a romantic quality that is both dreamlike and unnerving, all of it feeling rather outrageous yet sensibly so. And the acting is so good. Is it wrong for me to characterize what is ultimately violent as being so lovely? 4.5 stars