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Fireworks (1997)

Hana-bi (original title)
Nishi leaves the police in the face of harrowing personal and professional difficulties. Spiraling into depression, he makes questionable decisions.

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22 wins & 19 nominations. See more awards »

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Cast

Cast overview, first billed only:
... Yoshitaka Nishi (as Beat Takeshi)
Kayoko Kishimoto ... Nishi's wife
... Horibe
Susumu Terajima ... Nakamura
... The Scrap Yard Owner
Hakuryû ... The Yakuza Hitman
Yasuei Yakushiji ... Criminal
Tarô Itsumi ... Kudo
Ken'ichi Yajima ... Doctor
Makoto Ashikawa ... Tanaka
... Tanaka's widow
Tsumami Edamame ... Businessman Throwing Rocks
Yûrei Yanagi ... Chef #1
Sujitarô Tamabukuro ... Chef #2
Tokio Seki ... Old Hick
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Storyline

Nishi is a cop whose wife is slowly dying of leukemia. One of his partners gets shot on the job, which results in him being confined to a wheelchair for the rest of his life and becoming suicidal. Nishi, feeling guilty of his partner's accident, tries to help him in any way he can. At the same time, Nishi leaves the police to spend more time with his dying wife. However, in order to do the right things for those he loves, Nishi must do something wrong, which has tragic consequences. Written by Anonymous

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Release Date:

20 March 1998 (USA)  »

Also Known As:

Fireworks  »

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Box Office

Opening Weekend USA:

$59,508, 22 March 1998, Limited Release

Gross USA:

$233,986, 12 April 1998
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1.85 : 1
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Did You Know?

Trivia

Girl playing with kite, featured in the final scenes of the film is Takeshi Kitano's real-life daughter, Shoko Kitano. See more »

Quotes

Horibe: Work is all I've ever known.
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Connections

Referenced in Jam session - Kikujiro no natsu koshiki kaizokuban (1999) See more »

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User Reviews

 
Brutally Poetic and Beautifully Summing Up Rage, Wounded Love and Loneliness; "Hana- bi" Is Perfect Cinema
5 March 2007 | by See all my reviews

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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