Sonatine (1993)

"When you're scared all the time, you almost wish you were dead."

This film is absolutely incredible. Breathtaking, thoughtful, fun, violent, intriguing, artistic... I could go on. It's about a group of Yakzua who go to Okinawa and end up hiding out in a cabin by the beach. While the film starts off in a very typical Yakzua film way, it becomes a lot more than that.

First, let me say that Kitano does a great job here. He wrote, directed, edited and starred in this film, and he does a great job at it all. The cinematography is beautiful, and it really makes this a pretty film. It really is in need of a bluray release, but sadly right now there isn't one. Kitano puts a lot of color into this film, using things like brightly colored shirts or the beautiful scenery or a bright blue car. The film starts looking very gritty and dull when they're in Tokyo, much like any Yakuza film, but as they go to Okinawa, it becomes much more rich in color, which is very interesting to see. You really get to soak in the beaches and waters of Okinawa, which are absolutely beautiful and make you wish you were there.

The soundtrack plays a huge part in this film too. Joe Hisaishi does the score, and he has done other scores for Kitano films like Kikujiro and even studio Gibli films. His score gives the film varying moods, which range from mysterious and brooding to fun and whimsical, which fits the film well seeing as it has a little bit of all of these things.

The movies starts as a violent and gritty Yakuza film, but about 30 minutes into it when they go to the beach to hide out, the film becomes almost like a kids movie (Reminiscent of Kikujiro, another Kitano film that has a more kid friendly vibe to it). They goof around and have fun, which really makes you like these characters. You feel like you know what these characters are like and they feel real. Everyone in the cast does a good job, especially Kitano.

This is a movie that really makes you think as the credits roll. It gives you enough to understand what Kitano is trying to say, but also leaves a few things up to the viewer to decide, and I really like that. I don't want a film to give me everything, but at the same time, I don't want to be 100% confused. This movie really pulls that off.

I highly recommend this to anyone. Fans of Japanese films, fans of Yakuza movies, fans of art house films, just fans of film in general. It's a masterpiece that is very underrated, and absolutely needs to be seen by more people.

Fmovies: I'm not entirely sure what to make of this film--I suspect I need to view it at least once, and probably several more times before I can get a good hold on it. However, my inability to fully comprehend what "Sonatine" is about doesn't strike me as a flaw. Rather, the film is much more complicated than the usual gangster film.

It begins with very unsentimentalized and nonglorified violence. People hit and kill each other and it isn't much different than toast popping out of the toaster. It is fast, moderately bloody, and there. Kitano doesn't seem to be interested in thrilling us with either the danger, grotesqueness, or thrill of violence--another, not clearly defined agenda is at work here.

At perhaps a third of the way into the film, it makes a sudden transition from this gangster life to a period of forced inactivity. I suspect this section, which is delightfully playful, is at the heart of this film.

I have always wondered why Americans always label everything they can lay their hands on; that's how Sonatine became "an action movie", Arizona Dream became "a comedy", etc. Maybe their viewers need to be told what is what because it's hard for them to think for themselves. Sonatine is NOT a typical action movie. Though the characters are gangsters and they DO kill people occasionally it's not the killings that are important. The director and the cast show that those gangsters are also human, with their likes and dislikes, their games and pranks, their love and loyalty.It's a very Japanese film showing the beauty of the fleeting moments of life, fragility of life, beauty of nature and of human soul which is capable of self-sacrifice and devotion. I particularly loved the game of cardboard wrestlers they palyed on the beach and the fireworks. It's fresh, genuine and filmed in a non-American way (thanks god!)mostly as far as its framing and editing are concerned. Calm and life-like sequences of frames make it look NORMAL, not "movie-like". Thanks god there's nothing like Unreal Tournament gun-happiness and no heroes walking away in a most manly way against the background of flames and nuclear explosions, which are omnipresent in American productions. Takeshi, go, go! We are on your side!

Sonatine fmovies. This film is one of my all time favourites for chilling out to at night. The cinematography is beautiful, making full use of the lovely beaches of Okinawa, and the shots tend to linger on a face or a car driving off into the distance, which creates a sort of hypnotic effect on the viewer. The score is beautifully composed by Joe Hisaishi, who also gave you the music for Spirited Away. Personally, I think that the film wouldn't be half as good if it wasn't for the music.

Plot wise, it's quite basic. A group of Yakuza are assigned to Okinawa to make peace with a rival clan. Things go horribly wrong and they take shelter in a disused beach hut. I think the main subject the film deals with is what guys do to make the most of a bad situation. There is an underlying theme of helplessness and pessimism......Maybe self realisation. Although there is never any feeling shown by the main character, you get a perfect picture of the characters state through Kitano's relaxed acting style. He reminds me of an oriental mix of DeNiro and Keitel.

All in all, a classic film that speaks in whispers.

Andy

This is exactly what I'd do if my gang's territory was being threatened by conspiracy and rivalry in the criminal underworld - hide out on a nice beach playing fantastic-looking firework and sumo games with me mates and some random passing woman, listening to crazy old men singing in incredible voices, watching out for assassins in fishing gear and generally building myself up for a massive showdown. Beat Takeshi is a genius with this kind of stuff, he makes his gangster a real man in full 3D, hardened by a hard life but still full of uncertainty and needs, and who in the world could have outdone his deadpan but humourous face, especially in those bleak final scenes. Shame about his appalling TV "comedy" though.

Having finally experience Sonatine, I can't say enough for this poignant and moving film. Beat Takeshi may face death with that same disconnected look on his face, but it is the inaction, the time between the killings, that carry all the meaning. Even when in gunbattles, nobody moves, nobody tries to dodge, it is as if everyone simply feels chained to their fate. This is jarring to Asian cinema lovers used to side-jumping, dual-gun gymnastics and amazing set pieces.

I love how the only emotions Murakawa expresses are humor and nihilist apathy. The "sumo scene" is so delightfully out-of-place, while the ending simply leaves your mouth open. The warmth the characters show just makes it more hurtful when they meet such pathetic, low-key ends. I'm not an expert on Japanese society, but I see this film as a comment on the emptiness of a fear-filled culture of reservation, where it is more important to show restraint and respect than it is to continue living.

I'll still enjoy good ol' HK pistol operas, but I'll never see them quite the same again.