Hana-bi - review

Title: Hana-Bi (Fireworks)
Director: Takeshi Kitano
Cast: Takeshi Kitani, Kayoko Kishimoto
Released: 1997

Takeshi Kitano has been entertaining Japan for years now. Actually, anyone who's ever read anything about this talented individual will know that he has had quite a few careers. My first experience with him was when my family got satellite television. We didn't subscribe to all the popular movie channels, or any of the main 'entertainment' channels. Instead we opted for second-rate, free broadcasts from Germany. Amongst my favourite channels was DSF, a sports station that proved to be the only way I could ever see live NBA basketball. In the daytime however, DSF broke from their traditional line-up of sports, and started showing this insane Japanese game-show. 'Takeshi's Castle!' Needless to say, it was mindless fun, with Takeshi Kitano putting contestants through many embaressing situations that usually culminated in being kicked into pools of muddy water. It was funnier than it sounded, much funnier.

So as a film-maker his genius is every bit as evident as it was in his comedy, albeit in a totally different way. His films prior to Hana-Bi had concentrated almost exclusively on the Japanese mob lifestyles, and had been full-on violent affairs. Hana-Bi marked a departue. It still has it's fair amount of violence in it, but this is a serious film. It deals mainly with notions of loyalty and loss, but is achieved in such a unique way that it would either hook you, or annoy you. It hooked me because I'm not one to be put off by slow-moving films with little in the way of 'action' or unnecessary dialogue. The camerawork is perfectly framed every time, making each scene, each shot, look like a work of art.

Art itself is another issue with Hana-Bi, Takeshi Kitano is, yes, an artist too! This film, maybe a little shamelessly at times, displays his art in many scenes. Some of the art is really interesting and fresh, but I do feel it comes close to disturbing the balance of this extremely balanced film. If it does, it's not enough to ruin the amazing performances. Takeshi plays the hardened detective 'Nishi'. His son died, and his wife is dying. His partner in the police force died a while ago and he's still coming to terms with the guilt he feels. Does it sound depressing? Well maybe it is. This film has it's fair share of light moments too, that's what makes it a classic. Many of these scenes come, surprisingly, from Nishi's dying wife, played with subtle tenderness by Kayoko Kishimoto. Nishi's current partner is shot and wheelchair-bound at the start of the film, this storyline allows the audience to get to know just what kind of friend Nishi really is. The ways in which we are made aware of Nishi's humanity and loyalty is interesting, we always see the results of his kindness, the presents he gives, the smiles he creates in desperate situations, the people he changes. When the camera looks at him though, he is a silent, sun-glass wearing tough guy, he is neither good nor bad. Needless to say his is the most unique performance in the film, if the most perplexing.

Hana-Bi is one of those films that has you staring at the credits for minutes after it ends. The climax is sudden, unexpected, and as the rather bad soundtrack begins to play, you are left wondering 'what you just saw?' It took me three years to see this film again. I own it on DVD now. I still don't watch it that much. It's a crazy world out there. This film is best described as a magic-mirror to that world.

Y.Misdaq aka Yoshi