A hit-man, with a fetish for sniffing boiling rice, fumbles his latest job, putting him into conflict with his treacherous wife, with a mysterious woman eager for death and with the phantom-like hit-man known only as Number One.
After World War II, some Tokyo prostitutes band together with a strict code: no pimps, attack any street walker who comes into our territory, defend the abandoned building we call home, and... See full summary »
In Okayama in the mid-1930s, Kiroku attends high school and boards with a Catholic family whose daughter, Michiko, captures his heart. He must, however, hide his ardor and other aspects of ... See full summary »
The young rebel Juro has to deal with an environment of crime and prostitution, and the impact of its choices on personal relationships: one with his mother, with the lover of the latter and with a girl in love with him.
The number-three-ranked hit-man, with a fetish for sniffing boiling rice, fumbles his latest job, which puts him into conflict with a mysterious woman whose death wish inspires her to surround herself with dead butterflies and dead birds. Worse danger comes from his own treacherous wife and finally with the number-one-ranked hit-man, known only as a phantom to those who fear his unseen presence. Written by
Gonzo crime-thriller astonishingly directed by Seijun Suzuki
A bizarre yakuza flick with a taste for over-the-top visuals and modern stylistics, Branded to Kill follows the strange day-to-day existence of an expert hit-man who carries out his orders with steely determination and impassive cool. All hell breaks loose, however, when a butterfly alighting on his rifle scope results in a botched job -- and a death sentence for the screw-up. Joe Shishido, with his collagen-enhanced cheekbones, makes a terrific anti-hero whose unusual quirks (Suzuki reasoned that a man obsessed with the scent of warm rice would signal to audiences that this guy was quintessentially Japanese) instantly endear him to newly-made fans. Branded to Kill is wild fun, and has been favorably and frequently compared to the work of artists as different as John Woo and David Lynch -- which makes it all the more exhilarating when you realize it was made in 1967.
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