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46 out of 60 people found the following review useful:
More extraordinarily stunning cinema by Takeshi Kitano, 18 August 2002

Author: Bogey Man from Finland

Hana-bi (1997) is Japanese film maker Takeshi Kitano's masterpiece along his Sonatine (1993). Hana-bi reminds me pretty much of his more recent film, Brother (2000), which still has much more humor and positivism in it. Those who have experienced Sonatine may ask can a film be even more beautiful and brilliant, but Hana-bi is at least as masterful, if also different. The film stars again the director himself as Nishi, a police man who learns his wife suffers from some extremely lethal disease which has taken her speech, too. She is going to die soon, and all Nishi has in his mind is to make his wife's last weeks as enjoyable and nice as possible. He is forced to deal with Yakuza in order to get some money for her medical care and other plans he has for her last days, and that leads of course to troubles with the gangsters as Nishi isn't able to pay back his loans. Nishi's partner is another tragic character, who is shot and paralyzed for the rest of his life during one shoot out. Also one of Nishi's partners is shot dead in a scene, which belongs to the film's most powerful scenes and it is shown as a flashback, in the usual silent and symbolic style of the director. What follows is all the great elements we've learned to wait from this artist from one of the greatest cinema lands in the world, Japan.

Hana-bi is almost unbearably sad and emotional, and its most tragic character is Horibe, the partner who is paralyzed and totally abandoned by his wife and children after he loses his ability to move and be like his used to. The scenes in which Horibe tells to Nishi about his loneliness and that everyone has left him are extremely powerful and really make think about the values of one's own life for the second time. Horibe finds some kind of way to express his sadness through art and painting, and he gets a great gift from Nishi, one of his last friends who understands him and would never leave him like the others did.

The shoot out flashback is also one memorable segment in this film, and it is in its slow motion one of the most beautiful, yet shocking depictions of violence ever possible. Hana-bi has some very strong scenes of violence, and it all erupts again as rapidly as always in Takeshi's films. Weak souls resort to violence very often, and the result is always just more violence, death, depravity and pain, both physical and emotional. I will stress again that those who think Takeshi's cinema is gratuitously violent (or Japanese cinema in general, i.e. the work of Takashi Miike and Ishii) miss the whole point as his films absolutely never glorify violence or present it as a noteworthy tool; his films analyze violence and show many aspects of it, without hiding or embellishing anything. His films are as important in this level as they are in cinematic element level as some of his usual trademarks are absolutely unique and stunning, and Hana-bi is definitely not an exception.

The music is again by Joe Hisaishi, who composed Takeshi's films Sonatine and Brother plus some others. The soundtrack in Hana-bi is again one key element of the film, and it is perhaps closer to Brother's than Sonatine's, but still all these three films have unique and masterful soundtrack which is full of emotions. The greatest element of all, however, in Hana-bi are the paintings by the director himself, who painted them after his nearly fatal motorcycle accident in 1994. They are stunningly beautiful and staggering as they combine different types of nature's beauty in very unique way. The animals combined with flowers are so wonderfully effective and their power is taken even further by the music. This symbolism creates so powerful experience that it almost requires the viewer to cry for the characters, but also for the cinematic magic this director has created.

The usual wry humor of Takeshi is almost completely missing in Hana-bi, but there are some little bits, which are still in right places and work as fine as they always do. Still, this is the most inconsolable film of Takeshi, and be sure to watch the whole film the end credits included, since there's one extremely purifying image coming, in the tradition of the finale in Brother. Despite Hana-bi being so sad and harrowing, the very end is again very relieving and belongs among the greatest endings of all time. Another film with similar ultra-powerful image at the end is Lars von Trier's Breaking the Waves, another masterpiece from the 90's.

I just cannot imagine loving some other film maker's work more than Takeshi's, and he is among the greatest cinematic artist I know, and it is not a surprise he's from Japan, since Asian film makers are usually the most personal and stunning and don't have any restrictions for their work like in Hollywood film makers usually have as they have to keep the ratings and commercial things in mind. Fortunately Takeshi has been able to do his films completely free, and I really hope he can continue it for many years to come. Hana-bi is his brightest masterpiece. 10/10 immortal cinema.

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38 out of 45 people found the following review useful:
A breath of fresh air. It's rare poetry -- a sentient piece with unflinching strength. MUST SEE for film appreciation buff., 9 May 1999

Author: Ruby Liang (ruby_fff) from sf, usa

It's lyrical poetry: sensitive, eloquent, visual, hard and soft edges simultaneously, and sparing dialog. There's no need to tell all -- all is conveyed in the paintings presented, in the words spoken by supporting characters, in facial expressions and gestures. It's minimal -- nothing's gratuitous. The story is told mostly visually, unhurried, not even a hold-up scene -- that feels leisurely, too.

It's a story about a cop, miles apart from Hollywood commercial productions. The treatment writer-director Kitano delivered is unlike any seen before. The central character, Nishi, he has guts to live or to die. "He's a darn good cop," Horibe his partner confirmed. (Horibe, whose poignantly restrained performance by Ren Osugi, is more than just a supporting role in the film). Nishi has two close partners: one (Tanaka) died in action and left a widow, the other crippled in action and confined to a wheelchair. His wife Miyuki (a wonderfully quiet performance from Kayoko Kishimoto) is in the hospital; she's been ill for two years; their daughter died earlier. These details are given to us through casual conversations from supporting characters and flashback memories reflecting Nishi's constantly attentive mind in spite of his mostly blank face.

He's a caring man. But when he is ignited, incensed by injustice or anyone's action or words that get in his way, his reaction is the other extreme of his subdued gentleness inside: an unhesitating steady strike or continuous multiple blows, or "emptying his bullets into a corpse." He has a lot of pent-up emotions ready to explode. Nishi is an honorable man; he felt responsible for the misfortunes that occurred to his two partners. Perhaps it's guilt; he has to do something to amend the situation. There are crime depictions, including Yakuza related segments. His physical reactions to thugs are unflinching to the point of brutal yet they are essentially graphic -- at times in powerful silence.

He's a pensive man -- we can tell he's constantly thinking. There are occasional comic relieving pauses: we see him taking a moment and even breaking into a smile, e.g., when he beckons to play ball with the two workers on the street while at a stake out; his brief exchange with the junkyard owner was revealing. It's all paced in good measure.

It's a quiet film yet strong and deep, filled with human frailties and vulnerable situations. The relationship between he and his wife is beyond words. There are little mutual gestures between the two of them -- so much is expressed silently. Sometimes it's straight to the point short questions from Nishi to his wife -- and this could be delivered to us in voice-overs. The camera gives us serene scenic landscapes: seaside view with a horizon -- waves rolling in being a repeated theme; snow scenes; a temple with a big bell and a few wandering cats. It also embraces the paintings and still lifes (e.g., a wooden puzzle game and two dessert plates on a table), giving us deliberate meaningful close-ups. In HANA-BI, silence speaks louder than effects of any kind.

The film touches on aspects of life and living -- relationships of working partners, husband and wife, and being human. It's a canvas Kitano thoughtfully creatively painted on film -- broad strokes, little poignant details here and there, vibrant solid colors and imageries. Words are sparse. Simple and yet not at all simple. It could be evident that perhaps he did it all for love? His love for his wife certainly shows. Throughout the film, his face seemed void of emotions -- hardly flinches -- and in the end, possibly a flinch or two did cross his face. Perhaps he's resigned to fate?

The music by Jo Hisaishi at times is reminiscent of European film scores, e.g., flowing tune following a car leisurely cruising along the seaside road at some Riviera of Italy or Southern France. It complements the story in soothing tempo from beginning to end. Kitano's "FIREWORKS" is in perfect cadence -- an excellent piece of film expression. A rare gem.

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31 out of 37 people found the following review useful:
One of the Best Drama's Anywhere., 5 January 2002

Author: Sonatine97 (sonatine97@hotmail.com) from Birmingham, England

It took at least three repeat viewings of this film before I felt I was ready to review it here on IMDB. The first time I played the DVD I felt a strange sense of detachment as I tried to absorb what had been played out before me.

Kitano plays a detective with huge burdens on his shoulders. His wife, Miyuki) is dying from cancer, a trusted partner & friend (Horibe) is in a wheelchair with nothing to occupy his mind other than to paint landscapes & think about suicide now that his wife & family have deserted him. And to cap it all during an undercover operation headed by Kitano a young detective (Tanaka) is mortally shot & killed because of a blunder on Kitano's part.

Having been subsequently kicked out of the policeforce, Kitano has to cope not only with the loss his job (and income) but to come to terms with his guilt regarding the dead detective, Tanaka, his emotional feelings & absent love for Miyuki as she sees out her last few weeks. And finally, Kitano has a great deal of sympathy & loyalty to his former partner & friend crippled in a wheelchair.

In typical Kitano fashion he decides to rob a bank, pay off his debts to the local Yakuza warlords and spend the rest of the money on his crippled friend, Horibe; Tanaka's young widow and Kitano's dying wife.

Being a big fan of Kitano I wasn't disappointed by the style of the movie. His directional trademarks are visible through most of his films: flowers, beach scenes, picturesque landscapes, beautiful & haunting music (by the ever dependable Jo Hisaishi); face-to-camera shots and of course a sense of helplessness & defeatism within the lead actors themselves.

But what I wasn't quite prepared for was the melodrama & pathos the film revealed to me. Unlike most of his other "gangster/police" movies such as Brother, Sonatine & Violent Cop, the violence seems secondary to the moving, sometimes harrowing scenes of Kitano & Miyuki holidaying together, trying to relive some of their past love & passion for each but only to find there is nothing but loss & grief.

Kitano shows a great range of emotions in this film: from being a tough & very unforgiving man with his dealings with the Yakuza (the violence is sharp, sudden & very graphic). While at other times he is a man totally lost in a world of sorrow & pity, a man who finds it hard to grieve, to own up to his mistakes & guilt, a man who only now realises how much he will miss his wife after spending so many years staying away & not appreciating her needs whilst doing his job in the police.

The ending is absolutely gut-wrenching, but to be honest it was of no real surprise since there are similar outcomes in most of Kitano's films, especially Violent Cop & Sonatine.

The cinematography is absolutely outstanding, coupled with the haunting score of Jo Hisaishi (who also did the score for my favourite Kitano film, Sonatine). Kitano's direction is also beautifully paced with very tight editing & not a single shot is wasted.

The acting as well, is top drawer. Nothing needs to be said about Kitano's performance because it is that good. But the support from Kayoko Kishimoto (Miyuki), Ren Osugi (Horibe) & Yûko Daike (Tanaka's widow) is truly excellent and never weighs the movie down with too much manufactured & false melodrama so typical of Hollywood (especially movies starring Robin Williams).

As I said at the beginning of this review I had to see this film at least three times before I felt compelled to write about it, such is the power & strength within this film. Kitano's humanity is very redeeming & reveals to our Western eyes the true values of Japanese tradition & family relationships, especially with regards loyalty, friendship, love & coming to terms with one's guilt.

I recommend this film to anyone who takes an interest in movies of this kind. It may appear to drag at times, and some of the shots seems uneven & redundant on first viewing. But give it a chance because after about the second or third view more & more of the film's inner strengths will brim to the surface leaving you aghast & begging for more.

*****/*****

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21 out of 24 people found the following review useful:
A masterpiece!, 6 July 2002
Author: Infofreak from Perth, Australia

'Hana-bi' is one of the most impressive movies I've seen in the last ten years. Writer/director/star Beat Takeshi (Takeshi Kitano) is best known in Japan as a comedian and TV personality, so this movie is even more astonishing to outsiders like myself. Takeshi has a very laconic and charismatic screen presence, and is no slouch as a director either. It's difficult to describe the feel of this movie, and its poetic use of violence. Peckinpah's brilliant and misunderstood 'Bring Me The Head Of Alfredo Garcia' comes to mind, as does Cassavetes' 'The Killing Of A Chinese Bookie', Ferrara's 'King Of New York' and 'Bad Lieutenant'. 'Hana-bi' reminds me of those movies but Takeshi adds his own unique voice to the material. I was knocked out by it, and I cannot recommend it highly enough to movie fans who are fascinated by the relationship between art and violence. I don't think calling this movie a masterpiece is an exaggeration. Absolutely essential viewing!

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15 out of 18 people found the following review useful:
Brutally Poetic and Beautifully Summing Up Rage, Wounded Love and Loneliness; "Hana- bi" Is Perfect Cinema, 5 March 2007

Author: Det_McNulty from United Kingdom

Takeshi Kitano, the actor and director of Hana-bi certainly has left an imprint on Asian cinema. Managing to differ between playing brutal, yet sensitive characters to directing films centred on hard-boiled, "cops vs. criminals" plots. Takeshi Kitano remains one of the finest actors in cinema, most film viewers were introduced to his acting after watching Battle Royale, which has had a huge effect of his recognition. He is an actor who can bury himself deep inside a role, becoming a dark, disillusioned character and being cast as characters who are usually coming to terms with the guilt of their past. Well known for his deadpan style he has developed into an icon of modern Asian cinema.

Hana-bi is the haunting, powerful, thoughtful tale of a severe police officer who retires from the force after his wife gets leukaemia and a fellow officer gets paralysed from an accident that he blames himself for. The film follows the tragedy and self-destruction in the man's life who wants to help the people he loves before it is too late. The narrative of Hana-bi is one that moves with a fairly slow grace, perfectly suiting the film's mood and structuring a detailed and enigmatically twisted plot.

Hana-bi is a prime example of minimalist film-making, providing a poetic journey of self-discovery and accepting the effects of anger. Hana-bi is far from an aggressive film, even though the violence is stark, abrupt, restrained, brutal, unflinching and at times strangely beautiful in its film techniques. The literal translation of the title "Hana-bi" translates to fireworks, which is a metaphor for the brief explosion of life we live. The pensive feel is relaxing rather than brooding, flooded by sudden flashbacks of violence, which wonderfully grab the viewer's attention. There is also an element of dark humour paced throughout the film, which makes you laugh, but also makes you ponder the film's deep philosophical, moralistic and nihilistic imagery.

The acting from the entire cast is stunningly provocative and moving, edged with the factor of such a brilliant script, yet it is a film that does not rely on language as a key factor. Few performances have moved me with such provoking and eventually challenging studies of human characteristics, emotion and psychology. The metaphorical, subliminal and emblematic cinematography is marvellous at carefully capturing some of the most unforgettable imagery in cinema. The haunting score is truly remarkable n its aching sophistication and elegance, ultimately helping define a clear atmosphere. It is undoubtedly a pessimistic film on the surface, although still being a film that holds hope under the façade.

Hana-bi is perfect cinema. Few films come quite as close to its breathtaking brilliance and overwhelming nature. Sublime, in every sense of the word, its beauty will knock you right out.

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13 out of 16 people found the following review useful:
Kitano's Masterpiece!, 19 January 2007

Author: Benjamin Gauss from Salzburg, Austria

Takeshi Kitano's "Hana-bi" aka. "Fireworks" of 1997 is a sad, funny, violent, melancholic, brilliant film, an absolute masterpiece which is, in my opinion, not only one of the best movies of the 90s but one of the best of all-time. Hardly ever have I seen a movie which is as brilliant and unique in both its tragic and its funny moments, as it is the case with this ingenious work of art.

I am a very big fan of director Takeshi Kitano, who also stars in the leading part (as 'Beat' Takeshi) in this, and "Hana-bi" is my absolute favorite of his movies.

Yoshitaka Nishi (Kitano) is a mostly calm, but occasionally irascible and ultra-violent cop, whose wife Miyuki (Kayoko Kishimoto) is terminally ill of leukemia. After his partner Horibe (Ren Osugi) is wounded, and another police officer is killed, Nishi decides to quit his job at the police and spend more time with his dying wife. In order to help Horibe, who is now in a wheelchair, and the dead police officer's widow, and in order to make the remaining time as comfortable as possible for his wife, Nishi, who also owes money to the Yakuza, needs money and he is determined to acquire it.

There is no doubt in my mind that Takeshi Kitano is an absolute genius, which he has proved by writing and directing this masterpiece. But not only is Kitano a genius as a writer and director, his acting performance in "Hana-Bi" is also uniquely superb and one of a kind. Nobody else could have played the role of Nishi with such brilliance as 'Bito' Takeshi Kitano, who rarely says a word in the first half of the film and is (nevertheless or therefore) absolutely impressive in his role of the cop with the constant poker face, which typical for Kitano. By the way, the impressionist and very original pictures which are shown occasionally throughout the movie were also painted by Kitano himself.

The rest of the acting is also great, Ren Osugi delivers a particularly memorable performance as Horibe, Nishi's partner who is struck by fate and has to live in a wheel chair, and Kayoko Kishimoto is great in the lovable role of Nishi's dying wife.

An absolute genius as a writer, director and actor, Takeshi Kitano is without doubt one of the greatest cinematic multi-talents alive, as far as I am concerned he is one of the greatest cinematic multi-talents who have ever lived. His arguably greatest film, "Hana-bi" is one of my favorite movies of all-time. Simply put - a perfect film! 10/10

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14 out of 18 people found the following review useful:
A Kitano film of unparalleled power and beauty, 3 April 2005

Author: fourletterfury

"Hana-Bi" is well-known as being Kitano's most critically acclaimed and iconic film to date, and with good reason. Despite a backlog of excellent films ("Violent Cop", "Sonatine", "A Scene By The Sea", etc), the reason "Hana-Bi" stands out as arguably the finest is that it so beautifully captures a personal time in Kitano's life and blends some of the more eloquent features of his persona not heavily represented in his other works. That title alone; "Hana-Bi" (In Japanese, combining 'fireworks' with 'sunflower') represents an almost poetic change in Kitano cinema, conveying a combination of sub-meanings and representations making the film strongly multi-layered with many possibilities for interpretation.

Kitano gives one of the best performances in his career as Nishi, the hardened cop looking after his dieing wife. Despite his stone-cold exterior and tendencies to explode in a violent rage, he is nonetheless a weak, broken, and tired man, haunted by some colleague's recent deaths and injuries and daunted by his wife's nearing death. Kitano is able to convey such an emotional stretch with sincerity, making this 'man of few words' one who the audience nevertheless bonds with throughout the film.

The supporting players are excellent. Kitano regulars; Susumu Terajima and Ren Osugi give exceptional performances as troubled men in an emotionally crumbling world. Osugi, in particular, plays the disabled Detective Horibe with such intensity and unfathomable depth. The numerous scenes of Horibe seated infront of Kitano's token sea-view, staring silently with Joe Hisaishi's fantastic score soaring over the top conveys more emotion and moves the audience to tears in a way words never could. It is this which makes Kitano such an incredible director, of not just Japan, but contemporary cinema as well. His dialogue is irregular, yet powerful, and his distinctive taste of visual style combined with beautiful music and emotionally rich characters creates further emotional intensity within film, powerful cinema which is undoubtedly absent in recent Hollywood works.

I have read that Kitano films are an acquired audience taste, and not suited to everyone. That maybe true with more shocking films such as "Violent Cop", but if you've not yet experienced the undeniable magic of a Kitano film, where better to start than the very best? It is certainly a film which needs to be viewed many times, as although the first time will leave you stunned, watching the film further allows you to notice more subtle qualities, as well as experience the film again.

In closing, I hope that wider audiences will experience the power of Kitano's work, and in particular, "Hana-Bi" It is a film unlike any other you will see, and no review can do it justice. You must see it for yourselves.

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15 out of 22 people found the following review useful:
A Japanese masterpiece, 13 January 2001
Author: Darth Sidious (darth_sidious@talk21.com) from England

Kitano's Hana-bi is something quite special, a film where images of violence and beauty are juxtaposed. The violence is deadly, but certainly not gratuitous or pointless. The beauty is the love story, the happiness between a cop and his wife.

There are 3 main stories in the picture, each one given the time it deserves. The film is beautiful to watch, the camera work is slick and amazing.

The direction is faultless and no frame is wasted. The film's images speak out, they are very powerful. The long silences add so much to the film, the director really knew what he was doing.

The screenplay is almost in the shadow of the awe-inspiring images, but does give the picture a deserving foundation!

The performances are 101% perfect, very authentic!

The film's musical score is beautiful, it feels very isolated from the images which only adds to the raw ambience, it's perfect!

This is a Japanese masterpiece, see it in wide-screen!

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7 out of 10 people found the following review useful:
A collision of beauty and destruction, 14 August 2007

Author: ackstasis from Australia

*** This review may contain spoilers ***

Takeshi Kitano's 'Hana-Bi' is something of an oddity. True to his previous efforts as director, the film contains its fair share of shockingly-graphic violence, and yet at its heart lies a touching tale of love, loyalty and devotion. For the entire running time, Kitano (who, aside from directing, also wrote and starred in the film) treads a perilously fine line between the two thematic extremes; it is an intricate balancing act that, if attempted by a less-talented filmmaker, might very possibly have turned into a complete cinematic disaster. Nevertheless, the director manages to pinpoint this perfect centre of balance, and the clash of beauty and violence combines to create a jarring amalgamation of conflicting emotional responses. We, as the audience, as simultaneously repulsed and entranced; as a whole, 'Hana-bi' is one of the most beautiful film experiences of the last decade or so.

The title of the film itself acknowledges these opposing visual styles. Whilst the Japanese word 'Hanabi' translates to 'Fireworks' (the title under which it was released in the United States), the addition of the hyphen to the title ('Hana-bi') emphasises two individual components of the word, which translate respectively into "Fire" and "Flower," the collision of destruction and beauty/renewal. Much of the film concerns a cop named Yoshitaka Nishi (Kitano), who is forced to retire after a shooting on the job leaves his partner, Horibe (Ren Osugi), paralysed, alone and confined to a wheelchair. All the while, Nishi is still coming to terms with the impending loss of his wife, Miyuki (Kayoko Kishimoto), who is slowly dying from leukemia. As any grieving husband might do in such a situation, Nishi decides to quietly rob a bank, and he then uses most of the proceeds to fund a final loving family holiday for his ailing partner.

The scenes between Nishi and his wife are among the most touching I've ever witnessed. Miyuki has only two lines in the entire film, and so the couple spend most of their time in complete silence and quiet reflection, and yet you can truly sense the affection that they both have for each other. Their love is completely unspoken, and this makes it all the more touching when Miyuki does finally speak. Another touching character is Horibe, the loyal police force partner whose crippling injury leaves him alone and depressed. After attempting suicide, Horibe receives painting materials in the mail, and he commits his emotions to canvas, finally uncovering a reason for his continued existence (importantly, the artwork we see in the film was actually created by Kitano in 1994, after a near-fatal motorcycle accident). The film's phenomenally moving soundtrack was composed by renowned Japanese composer Joe Hisaishi, in his fourth collaboration with the director.

There are very few negative criticisms that can be said of 'Hana-bi.' One possible item is that the film's unusual flashback structure made some plot-points difficult to follow, and I'm still unsure of which cop's lonesome widow Nishi was in the habit of visiting. However, that's the only critique that springs straight to mind. All in all, 'Hana-bi' is a gloriously assorted blend of violence, love and gentle humour, and a first viewing is not likely to be forgotten in a hurry.

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2 out of 2 people found the following review useful:
Explosions in the sky, 11 December 2008

Author: lionelduffy from Ireland

*** This review may contain spoilers ***

This is a perfectly judged movie. The peerless Takeshi Kitano moves almost wordlessly through this film conveying moments of genuine tenderness alongside vengeful violence. The mastery with which he alternates between the tender and the brutal without ever losing the pathos of his character Nishi's situation is stunning. As ever Kitano reaches for the simplistic as opposed to the bombastic - admirable for a movie peopled with comic book violent yakuza and characters shattered by the unfairness of life's mandatory dealing of the cards. Telling the story in violent flashback, Kitano balances his tale with a beautiful understated romanticism laced with comic tenderness. This is the film the deft editor, visionary director, multifaceted actor and comic genius was born to make.

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