Forty-two students, three days, one deserted Island: welcome to Battle Royale. A group of ninth-grade students from a Japanese high school have been forced by legislation to compete in a Battle Royale. The students are sent off to kill each other in a no-holds-barred game to the death, until one survives -- or they all die. Some decide to play the game like the psychotic Kiriyama or the sexual Mitsuko, while others are trying to find a way to get off the Island without violence. However, as the numbers dwindle is there any way for Shuya and his classmates to survive?Written by
Prissy Panda Princess
When Kitano speaks to his daughter on the phone, the girl on the other end of line is actually the sister of the female lead actor who plays Noriko. See more »
Hirono's weapon changes from being a Browning High Power to an Colt .45 Model 1911 (just after she throws Mitsuko's weapon). See more »
This year Zentsuji Middle School number 4's Class E was chosen from among 43,000 Ninth grade classes. This year's game, said to be more blistering than the last - - Oh look there! There she is! The winner's a girl! Surviving a fierce battle that raged two days, seven hours, and 43 minutes - the winner is a girl! Look, she's smiling! Smiling! The girl definitely just smiled!
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As the credits roll, a class picture is displayed, showing all of the students that have been killed in the Battle Royale, including the two transfer students. See more »
The Special Version includes the following:
Redone opening titles
Redone sound effects
Added CGI blood to make the shootouts more graphic Also, many shots were added, deleted, reedited, and extended for pacing and clarity purposes, including the following:
A longer basketball sequence
Added reaction shots of the kids in the classroom to Kitano's "Do you know this law" question, and after Kuninobu's death.
A flashback shot of Mizuho and Inada and Kaori Minami to remind us of who they were when we see their bodies.
Closer shots of Takiguchi and Hatagami's corpses
An additional shot of Nanahara weeping at the top of the lighthouse
Additional shots of postcards from Mimura's uncle
Kitano shutting down power to the computers and ordering the soldiers to reboot after the Third Man attack
A scene with Mitsuko as a 9-year-old coming home to find a pedophile in her house.
An additional shot of Mimura triggering the explosives on the truck
Requiems that show the real flashbacks, and we hear the dialog during Noriko's dream.
A film that the US, would never, could never make...
This film is film that I believed had to be made, and it was only a matter of time before it was. Yet it was a film that the US mainstream could never have conceived making.
Firstly to get it out of the way I will say that I loved this movie, although at no point did I feel comfortable while watching it. It had the power and emotional content, that while not necessarily apparent in the dialogue was visible on screen at all times.
I am truly glad that this film has come out of mainstream Japanese cinema. It would have only been made in the US by independent film-makers who would have basked in the glory of its controversy and felt oh-so-smug that they had created it, while shoving a moral in your face. While I actually have no problem with US Indie film I do feel that a Western background would have comprised on visceral content, and upped the content of cheap moral points.
For those who say the violence was "cartoon-style" and laughable must have been watching a different film. Whilst this film is heavy in black humour I can clearly say that the deaths are shocking in the extreme, and there is no relenting from the beginning to the end. Only occasionally does the camera pan away from the final deed. The only deaths that have a dark humour content to them, are those involving Kitano (Beat Takeshi) and the "lone" vigilante (those who have seen the film will know what I am talking about). Other sections, such as the "Training Video" are equally comedic, and absurd. Yet other deaths are shocking in the extreme, and show how the slightest suspicion can have disastrous consequences for groups that only have trust to keep them together, a truly shocking scene in the Lighthouse reinforces this.
The fact that this film employs Children as the main protagonists of the story is the key to the whole impact of the film. We have all seen films like The Running Man where adults fight adults for survival and it seems that much less shocking, albeit that film was handled in a completely different manner. Children have the innocence that makes the brutality of this film that much more shocking, adults in the same situation would have had the reaction from audiences of cheering at the screen as the hero dispatches yet another victim. This could never and would never have been the case with this film.
To another commentator who felt that this film sticks with you less than Scream, I simply fail to find this to be anywhere close to the truth. The deaths in Scream although bloody are nothing but pastiche of those films that Scream is mimicking, ultimately throwaway deaths that up in brutality in order to out-do the last one that have one or two psychotic perpetrators, who eventually get their comeuppance. In this film their are no victims and besides one exception there are no villains amongst the children. They simply HAVE to play the game or die.
Well I encourage all those who feel they can stomach it to go and see this film or find it available somewhere (as I believe it has been banned in the US). It is not truly a film denouncing the evils of Reality TV or showing us the future of that trend of Broadcasting, that is merely a plot device to place the children in this situation. The nature of the film lies in its deconstruction of Friendships, Trust and our views on Innocence. Go and see it not as a spectator of this BR spectacle but as one of the participants and remember what was important to you when you were at school, and whether any of those rivalries, hatreds and friendships would have been enough for you to decide who deserves to die and who deserves to live.
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