Detective Azuma is a Dirty-Harry style rogue cop who often uses violence and unethical methods to get results. While investigating a series of drug-related homicides, Azuma discovers that his friend and colleague, Iwaki, is supplying drugs from within the police force. After Iwaki is murdered and Azuma's sister is kidnapped, he breaks all the rules to dish out his particular form of justice.Written by
Todd K. Bowman <firstname.lastname@example.org>
Takeshi Kitano insisted on long takes. Close-ups easily lasted 10 seconds, medium shots went on for 20 seconds and the shot where Azuma (Kitano) walks onto the bridge and into the frame lasted 57 seconds. See more »
[Azuma is a policeman]
So what's your line of work?
We sell guns by mail-order.
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There are no opening credits beyond the title. See more »
When the film was released in Swedish cinemas in 1992, it was censored with a little more than one minute for violence, the cuts were made in the following scenes:
The policeman getting assaulted before he gets his head crushed by a baseball bat.
The scene where Azuma assaults Hazishume on the toilet, and the finger cutting sequence.
The following cuts are when Azuma assaults the killer in the locker room and a bloody execution scene at the end.
This Japanese film from 1989 follows a senior detective around as he tracks local drug kingpins he discovers have connections inside the police department. He plays outside the rules and is barely tolerated. When he tracks down a suspect his behavior is violent, cruel, and vicious. As he upsets the local drug "business arrangements" his mentally disturbed sister is kidnapped by the bad guys. The cop goes on a cool, calm, and collected rampage. Much blood is spilled in the process.
Stated this way one can imagine any number of films that fit this boilerplate. In the hands of director Kitano we get instead a steady but brutal procedural that we gradually realize is Not Going To End Well. Kitano plays the main character and his mannerisms, way of talking, and even his walk signal a calm demeanor that barely conceals the coiled vigilante underneath.
Moral codes? There are none here. Kitano's character lives outside the mainstream despite his devotion to his sister. He is close to no one at the police department where he works and, in fact, has silent contempt for them.
The pace of this film is languid as we follow the characters around between bouts of sudden and occasionally awful violence. We spend much time in the city streets and back alleys of this water-side Japanese city.
It is my understanding that this was Kitano's first film as a director. His confidence in front of and behind the camera is impressive. Recommended (for the non-squeamish).
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