|Index||6 reviews in total|
This film had a powerful impact on me. I'm still somewhat new to the
film genre, but it immediately became one of my favorite films, perhaps my
favorite Takashi Miike film I have seen so far.
It doesn't really compare to Miike's more famous films because it fits more neatly in to the yakuza and crime genres than Miike's better known stylized shocker exploitation yakuza/psycho films; however, it does have a good deal of the visual style, much of the blood and carnage and some of the blistering action we are accustomed to in Miike's films. And, like most Miike films, it has a cool intro. Also, like most of Miike's best films, it has the coolest and best acting (and actors) you are likely to see in any crime film. Like we have come to expect from Miike films, it has some great mafia boss characters and one or two characters that seem like they are from outer space (though here these eccentrics are more subtle and have less screen time here than in his more famous films).
I more or less liked Miike's well-known stuff like Ichi the Killer and Dead or Alive (especially DOA's first 10 minutes or so) and I especially liked Fudoh and Audition, but I have to say I prefer this kind of film more because it has so much soul and grit and it feels real. The story has a classic feel to it like something out of the more edgy film noirs or some of the best gritty 1970s crime/druggie movies. Unlike in most any other Takashi Miike film I have seen so far, you actually care about the lead characters in this film.
Of course I won't divulge the whole story, but I set it up below. The plot is a little bit complicated, though it is one one of the best stories I have ever come across in a crime movie (my set-up below doesn't do it justice). Don't read the two paragraphs below if you prefer to know as little about the story as possible.
Story is about a young Okinawa drug dealer named Chuji who also works at a bar that features local Japanese rock and roll bands. But Chuji is also a gifted harmonica player, which he learned to play as a young boy out of loneliness and boredom while his prostitute mother turned tricks. While helping a young and ambitious yakuza named Kenji elude the capture of the gang headed by Chuji's boss, Chuji also incidentally meets a pretty girl who later becomes his girlfriend. She, as well as one of the leaders of one of the bands performing at the bar, encourages Chuji to play harmonica with his band. After only one performance, Chuji is instantly popular at the bar for his blues harp skills. His talent later attracts the attention of a record producer. It looks like Chuji might no longer have to deal drugs, but...
Kenji, the yakuza formerly on the run, rewards Chuji for his help at eluding capture and certain execution earlier. The two become friends -- though, unbeknownst to Chuji, Kenji's affection for him is more than just friendly. But because they each work for rival gangs, and because Kenji's yakuza ambitions exceed his status and his closeted homosexuality offends certain people close to him, Kenji's life is on the line, and Chuji obliviously and unwittingly gets tangled up in a yakuza battle way over his head.
END OF STORY SET-UP
Like I started to mention earlier, the story and characters have such a classic feel to them that I wonder if there are any classic noirs or 70s crime films with similar plots. If so, I'm curious to find out what they are. But I suspect the story probably feels so classic just because it is so good. Some Miike films are confusing, often deliberately so, and I usually appreciate his narrative haphazardness. But here, unexpectedly, we're treated to something of a classic crime tale. I know I am overusing the word "classic," but by the end of the film I felt like Charles Dickens could have written the same basic plot though in a very different style and different characters of course.
I want to call it a crime masterpiece; but I feel like it's a bit premature for me to make such a declaration since I need to see some more films first -- even more Takashi Miike films since he must be one of the most prolific directors in the history of feature filmmaking. But unlike most crime movies which often tend to be flashy and filled with a lot of attitude and crammed with forgettable action, this film has an emotional depth to it that most anyone can relate to (in addition to all the cool shoot outs, etc.). Many women would like this film too because there is a really good, and very simple, love story at the center of the film that is quite sweet; and the lead female character genuinely loves and devotes herself to Chuji as he does to her as well. This is how young love should be. This film busts the gut and excites the senses; but it also rattles the soul and pierces the heart. Many of the best Japanese filmmakers frequently seem to have a talent for combining on screen action and physicality with a depth of emotion and feeling that seems rare in filmmakers (and screenwriters) in other nations. Takashi Miike struts his stuff here in this regard. A film like this reminds me of why I love Japanese movies so much and why I think Japanese film in general is a treasure chest still waiting to be discovered -- maybe even by many Japanese people themselves as well.
I am not quite yet ready to call it a crime masterpiece. I at least need to see some more Takashi Miike films first. But damn if I really want to call it a crime masterpiece. Incidentally, it might even be a great story about love too. Nah - Takashi Miike couldn't be capable of a great love story even if it does have gangsters, guns and bullets. Could he?
*** This review may contain spoilers ***
I wouldn't bracket this movie with the surreal stuff that Miike has let
loose on an unsuspecting public. Nor would I place it in the shootemup
yakuza bloodbath series. It belongs with the reflective character
pieces like Rainy Dog and Ley Lines, and has a fair bit in common with
the gaijin outcast anti-heroes in City of Lost Souls.
Chuji is a victim of history and circumstance. We join him for the poignant finale of his brief, but tragic existence. He's a musical supernova in his limited beatbar universe, and a smalltime dealer in the (slightly) wider world. His life becomes entwined with an ambitious yakuza kiddie(Daisuke Ijima), whose plans are bigger than his brains. With predictably dire results. The feeling of impending doom is tempered by the almost punkish nihilism of the main players. It's Miike playing with that inevitable mortality thing again.
Beautifully underplayed, with some blatant plugs for the Japanese indie music scene, this movie doesn't set out out to shock or confuse. It limits its ambition to telling a melancholy story, and as a result, it's much closer to a righteous Kurosawa/Kitano vibe than the Black Society Trilogy.
Hiroyuki Ikeuchi is excellent as Chuji, the semi-gaijin harp player whose pappy may or may not have been a Yankee serviceman stationed in Okinawa. Or a street drunk. Or both. His mother is a prostitute. So it's fairly clear from the prologue that Chuji has had all the dubious benefits of a dysfunctional upbringing.
Ikeuchi is effortlessly convincing throughout. I hope he gets plenty of work on the basis of his performance in this very neat little drama.
*** This review may contain spoilers ***
Takashi Miike´s 1998 film BLUES HARP is not as outrageous as FUDOH or DEAD
OR ALIVE and not as disturbing and shocking as AUDITION or VISITOR Q. It
isn´t a gory bloodbath like ICHI THE KILLER. It is a Yakuza film very much
along the lines of CHINESE MAFIA SEASON, RAINY DOG and LEY
(SPOILERS!) The two main protagonists are Chuji, a half-Black and Kenji, an upstart Yakuza. Chuji works at a club and one night saves Kenji´s life when he is being chased by rivaling gangsters. The two become friends. But there is trouble on the horizon. Kenji conspires to replace his boss with the help the boss´s mistress. And Kenji´s bodyguard becomes murderously jealous of Kenji´s love for Chuji (the film is anything but subtle with the homoerotic overtones). I won´t tell anything more but the ending is both beautiful and tragic. (END SPOILERS)
BLUES HARP is a really great film. I was once again amazed how many of my favorite films are from Miike-san. BLUES HARP has now joined them. The actors are great, the cinematography is gorgeous (once again by HANA BI cinematographer and longtime Miike collaborator Hideo Yamamoto) and most importantly what happens on-screen feels REAL. You get the feeling that real people lead these kinds of life all the time and (in variations) all over the world. And even though we are dealing with criminals here Miike portrays them with what seems like genuine affection, even love while never, NEVER, glorifying the Yakuza lifestyle. One gets the feeling he really knows what he is making films about and considering his past that is most probably true. Whatever Miike does in the future I´ll be there and every film lover should keep an eye on this man.
"Blues Harp" (1998) features an excellent neo-noir story. Hiroyuki
Ikeuchi is a bartender, son of a prostitute by a black American in
Okinawa. He has musical talent and becomes a feature attraction at the
club, but before this he has been a small-time drug dealer on the side.
He also shacks up with pretty, enthusiastic, and loving Saori Sekino
who supports him 100%; but this sub-plot is largely disconnected from
the main story. An accident of fate leads him to save the life of a
lower-level yakuza, Seiichi Tanabe, who has elaborate plans to become
boss of his outfit, merge with another gang, and go from there. Tanabe
has unrequited gay love for the straight Ikeuchi who doesn't realize
this. One thing and another draw Ikeuchi into Tanabe's plan with
suspenseful and fateful results.
The plot relating the two men, the drug past of Ikeuchi and the yakuza ambitions of Tanabe eventually grabs you and doesn't let go but it's delayed by music that's not especially good but may appeal to its target audience. The movie features several songs full length at the musical bar or disco where the band plays a variety of blues, rock and rap and young people greet it enthusiastically. It's a cultural import and derivative of far better American music of its kind. This part of the movie was exploiting an audience, I believe. For me, it held up the neo-noir show which is quite good.
Tanabe handles his part very well indeed as does Sekino. Ikeuchi projects a wide-eyed innocence that doesn't especially click in his part, or maybe that's what the part and director wanted. He doesn't bring enough emotional depth and variation to his part, in my judgment.
This is a strong story directed by the prolific and stylish Takashi Miike. I think the film could have had much greater impact and emotional content had it been worked on more and done with greater care as to content and delivery.
Throughout, it does convey the idea of youth that's got energy but which can't find a comfortable identity in the world. Music and dance release their energy. It reminds me of the 50s and 60s youth movies in America.
Takashi Miike rarely makes bad films. Even when he's telling a
straightforward story, with traditional Yakuza elements and none of his
trademark weirdness, Miike does it with considerable panache.
Blues Harp follows the fortunes of a young half-black, half-Japanese bar- worker and blues harp player called Chuji, and his tragic entanglement with ambitious junior Yakuza boss, Kenji. Miike weaves the characters' stories together with a deft touch, counterpointing unflinching violence and tenderness without falling into cliché or sentimentality. Despite its relatively short running time, the characters are nicely developed; the acting is of a high quality, always believable, and some of the cinematography is gorgeous. All in all, a fine little film.
Chuuji is half black, has a homeless father and he works in a bar. He
has connections deep into the yakuza which he cares little about. He
saves a girl with whom he get together with.
Ikeuchi Hiroyuki is very good as Chuuji, the protagonist that you care about in this movie. The story is a sad one with little sentimentality and told with joy so we don't get turned off it.
Miike is a promising filmmaker, but maybe he should spend some more time on each movie instead of spewing 'em out. 'Chuugoku no Chounin' suffers a little from this. Such is the case also with this movie. Its still recommended for the lead act.
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