Sonatine (1993) - What a film! Man, what's even more impressive, is that the director, Takeshi Kitano, is apparently some Japanese version of Jim Carrey who transitioned into becoming Martin Scorcese (i.e., he went from goofy comedy star to writing and directing classic gangster films) although I don't think Scorcese has a gangster film as good as
Sonatine, with all due respect to
Mean Streets. The plot is fairly simple - a burnt-out yakuza named Murakawa is somewhat contemplating retiring from the life despite the good business he has going. Sure enough, his boss sends him a peacekeeping mission to Okinawa where two allies are squabbling. Murakawa openly riffs on the idea that he's being sent on a suicide mission but doesn't seem to take it particularly hard. A couple of his guys seem to wonder as well. Still, they go along, as does Murakawa, but not before whooping the Boss's second-in-command beforehand to make a point. A delegation of gangsters head to beachy Okinawa where their greeting is worthy of a cheap resort, bus ride and refreshments included. Doesn't take long for Murakawa's suspicions to be confirmed (the alleged squabble is non-significant relative to gangster stakes) and for Murakawa to lose a lot of his men in two separate attacks. The few survivors lazily take refuge in a beach house and it's not long before they start enjoying themselves. The camadarie and their violet backgrounds mix in for a lot of fun. While waiting for what's to come, they cheekily play Russian roulette, dance, sumo wrestle, play war with firecrackers before Murakawa, cherubic for larges portions of the film, jokingly pulls out a gun and starts firing to his men's amusement. In fact, with death potentially on the way, rankings are still respected but not necessarily enforced. This allows for Kitano's comedic background to shine through. It's not hard to see why he was/is such a big comedy star in his native country. Despite his middle-age in the film, he has a smile and silly charm that's easy to fall for and cannot seem to fully shake the look of a goofball but which makes his character - even in his most violent moments - completely appropriate and intertwines well with the written story. So funny a man is he that he can even turn the death of a rapist into a laugh out loud moment. The raped woman sticks around, both grateful and attracted to/by Murakawa's violent streak. A sort of romance develops between the two of them, and the most torrid moment the viewer is given between the two still turns out funny. In an erotic scene, Murakawa gets flashed. His reponse: 'Indecent exposure is fun!' (
).
That's not to say that this isn't an intelligent film. It is, highly so, bittersweet and contemplative. Murakawa, for long periods of the film, is largely quiet and making sense of what's to come. He knows it's inevitable and when it does come, he does what he has to do with a sort of corporate resignation that doesn't show much on the surface. Still funny but thoughtful, a younger gangster keeps asking a seasoned one if he knows this crook or that crook who did that deed or this one, to which the annoyed veteran can just reply 'Don't you have any decent friends? Somebody who was a good baseball player in high school?'. That same younger gangster is the last one standing along with Murakawa. He helps him out on his final mission. He wearily asks to come along for the final act. Murakwa asks him if he hasn't had enough. Instead of being eager or loyal to the end, he seems to agree and probably goes out in a way that Murakawa's age and experience doesn't allow him to. On top of its superb narrative, the movie, like essentially all of great Asian cinema (moreso than North American, IMO) has perfect aesthetical style. The recurring opening score immediately teases a fresh, enthralling experience. It perfectly chooses which takes should languish dreamily and which ones should light up like pinball machines. Can't say that I'm not tempted to speedrun this guy's filmography.
Sonatine might already be one of my favorite movies of all-time. For the life of me, I don't understand why Western filmmakers seem largely adverse to making reflective gangster movies of that sort. In comparision, even Scorcese's movies are adrenaline-filled, schizoid and unrelenting affairs. The only one that I can think of that seems to offer a similar vibe is
The Killing of a Chinese Bookie, which is another all-time great. I'd be open to suggestions for these types of films. I love intelligent gangster films.
Great, great song.
