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Before I get into anything, I'll admit the film was pretty funny. I laughed more than a few times, and I wasn't alone. There were definitely some funny moments.

Now to my impressions, and I'll include some high level feedback I got from others as well. I'm a mid-tier Kitano fan. I've seen a handful of his directorial films, and many of the films he's acted in. I went with two other people (bear with me, this has a purpose), one of which has seen all of his films, another who hasn't seen a single film by Kitano. Why do I mention this? Because I think it might be one of the keys to enjoying this film As mentioned in the synopsis, the film is about his life. It starts with Beat Kitano the superstar, and follows him around "off set" to give the viewer an idea of what he's face in his daily life. At some point he comes across a "Mr. Kitano" (also played by Beat) in which the story starts to explore the fantasy world of this "Mr. Kitano" who idolizes Beat. While fantasizing, he touches on aspects of his others films, and this is where the experience will differ depending on your prior "Kitano" experience. There were a few scenes I laughed at, where as my friend who had not seen a single Kitano film look puzzled. On the other hand, there were some scenes in which I didn't really react, yet my friend who is a "Kitano Fan" smiled from ear to ear. I guess what I'm trying to say is while I think anyone can enjoy this film, it really seems to truly experience what Kitano was trying to do you have to know a little about his other films. If you don't have prior knowledge, I'd be willing to bet by the end you'll question if 25-30 minutes of the film couldn't have been removed with little impact on the end result.

One of the question I thought about while watching the film was why the movie moved so far way from Beat? I actually found the Beat segments to be more enjoyable than the later part of the film, but unfortunately Beat doesn't remain in the film for long before he runs into "Mr Kitano". I also wonder if he didn't spend too much time exploring this fantasy world, and the end resulted in too much for the viewer. It was fun at first, but I'll admit as much as I love art film, this started to get a bit redundant after a while.

I'd also like to mention that the film (at least in my eyes) is by far his most "artsy" film to date. It almost seemed Ki-Duk like at times, as the last 40 minutes or so of the film had very, very little dialog. Somewhat like HWAL.

Anyhow, I'd probably give the film something between a 7 and 8. I'm pretty sure it's going to get some outstanding reviews, as critics who've had more experience with Kitano should get more out of the film. When the DVD drops I might give it another spin.

I saw this film at the 2005 Toronto International Film Festival.

Takeshis' is the latest film from writer/director Takeshi Kitano. He apparently got the idea for this film shortly after finishing Sonatine (1993). Kitano was previously at the festival in 2003 with Zatoichi, which won the People's Choice Award that year.

Takeshis' finds him playing two roles: one is a version of his real-life actor persona, Beat Takeshi; the other is a mild-mannered convenience store clerk/amateur actor named Kitano. The lives and the dreams of the two men intersect and parallel each other continuously throughout the film.

Actors, scenes, and elements from Kitano's other films (Sonatine, Kikujiro, Brother, and Zatoichi to name a few) show up frequently as the two men have waking dreams involving each other's lives.

The Beat Takeshi of the film is almost a stylized version of his real self, as the public might perceive him. This feeds into the fantasies of the clerk Kitano, who dreams of being Beat Takeshi, taking out his frustrations with the world in a hail of gunfire, just like in the movies.

The film is constantly jumping between reality and fantasy, from one character to another, rooted in the present but with flashes into the future. It can make it difficult to follow at times, leaving you to wonder whose perspective is being shown on screen and whether it exists in the dream world or the real world or something in between.

The film was enjoyable and not overly impenetrable, with its share of humorous moments and trademark flashes of sudden violence. Still, the movie is not quite as accessible as his other films, with the exception of Dolls, and while not strictly necessary, familiarity with Kitano's previous work heightens the viewing experience.

Two years after dusting down Shintaro Katsu's blind Zatoichi persona for his quirky period-drama re-jig, Takeshi Kitano is back in his own original territory - with a somewhat intriguing inclination towards double-vision.

Takeshis', which debuted at this year's Venice International Film Festival and subsequently screened at the celluloid festas in Vancouver, Toronto and London, has thus far traversed a bumpy course, with critical maulings riding shotgun up there alongside the more expected superlatives.

On one level a homage to the yakuza gangster flicks Kitano helped to define (since taken to the violent extreme by Takeshi Miike in Ichi The Killer), this movie also doubles as a parody of the style and might just be Kitano's farewell kiss to same. The 58-year-old writer/director has quipped that this is a funeral for the genres he explored over the last dozen movies, in particular the gangster premise, and die he apparently does - several times over - as do more than half the cast and extras in a series of grandiose shoot-outs. The yakuza die. The samurai and the sumo die. Heck, even the deejay in the club scene dies.

In the process Takeshis' throws together a smattering of melancholia, a whacked- out sense of humor, tap-dancing musical interludes, a Bonnie & Clyde twist, and touts more guns than a John Woo slug-fest. The narrative structure is as peppered as a spray of bullets from an Uzi.

The gist of the story is a shake-down of two characters played by 'Beat' Takeshi (Kitano) himself: one the "real life" movie star/director, and the other a shy, deadbeat convenience store clerk who aspires to an actor. But there's a third overwhelming id here, and that's Kitano's own on-screen alter ego from those earlier yakuza romps. The question - which one of these three is the real McCoy? - disintegrates as proceedings reach out on a surreal, metaphysical limb in which dreams interplay with reality, nightmares become farce - and then all swings violently back into an unsure version of the here and now. This makes for a sublime visual feast that's as baffling as it is refreshing.

Kitano's trilogy of parts aside, there's a bevy of other doppelgangers, mirror images and dead-ringers rife throughout this movie. Kotomi Kyono, while a tad dull as the movie star Takeshi's girlfriend, bears more than just costume jewelery sparkle in her ulterior role as a glitzy, ditsy yakuza girlfriend who happens to be the deadbeat Takeshi's tormenting neighbor.

As the creative synod here, Kitano certainly isn't afraid to poke fun at himself or the genres he's looked at more seriously in the past. But, after teasing with some mischievous insights, he then skirts the issue. And the weak moments in Kitano's earlier film Dolls (2002) - self-conscious "artistic" references - are stitched into Takeshis' with abandon. A recurring clown motif, bullets-as-star- constellations riff, and heavy-handed symbolism (in this case of a caterpillar) almost bludgeon the viewer, as if Monty Python had taken a blunt instrument to David Lynch - rendering it all a bit like Eraserhead on a bad hair day.

Not that this is such a bad thing; at times, it's brilliant. In some bizarre way - don't bother asking how - Kitano pulls off the slap-stick Mothra-sized larva pantomime that appears at various stages throughout proceedings.

But on the whole it's these asides that make the movie lurch, and off-shoots like the World War II scenes that book-end the film come off as just plain obscure. Takeshis' could have been that much stronger a movie. As it stands, in spite of (or because of) the pointed vignettes, the tap-dancing, and the associated meanderings-within-daydreams, it's a minor masterpiece. Just.

ANDREZ BERGEN

TAKESHIS' I have been thinking about what exactly the apostrophe in the title is doing.

An apostrophe is used to indicate the omission of a letter or letters from a word, the possessive case, or the plurals of numbers, letters, and abbreviations. To have a plural of "Takeshi", you just add an "s". To show that Takeshi owns something, you would simply write "Takeshi's thing". Therefore, the title "Takeshis'" would be the possessive of the plural "Takeshis".

Perhaps the title isn't (incorrectly) denoting a plural, but actually means that this film belongs to "more than one Takeshi"? It belongs to all of Takeshi's personas, and characters. It COULD just be another example of misuse of the poor apostrophe, but maybe Takeshi studied hard at school, and has dedicated this self-parody to himself, and his own multiplicity.

That being said, he reportably not all of the Takeshis are happy, as one was reportably quoted as saying: "Today I saw the film again and it's terrible. 'Who the hell made this?' I thought to myself. I set out to make a strange, groundbreaking film, and I think it succeeds, but it feels like I made a car that was so fast I couldn't drive it and fell out. If I win the Grand Prix, it must mean I'm nearing death, so I don't need it. This period is over. Next time I'm going to make an orthodox film in the style of the masters and then maybe I'll win." I think he was being too hard on himself (himselves?), but perhaps it never ends for an artists such as him (them?).

OK, enough with the plural jokes, and they probably only amuse me anyway. I just finished watching the film. It had been sitting on my shelf for a while, and I needed to relax after a frustrating mêlée in Half-Life 2 (Nova Prospekt!). I had intentionally read as little as I could about this film beforehand, and I had almost no idea what to expect when the film began. However, I instantly knew that I was watching a Takeshi Kitano film - the unmistakable style of the director completely permeates this film. Besides, there was a big blue "K" at the start.

This film is like some kind of flushing out of Kitano's creative musings. It is surreal and dreamlike, free form, and has some fantastic images and compositions. The film is almost totally devoid of complex narrative, and is instead experimental and perhaps introspective for the director. Perhaps this is what his dreams are like, and if he means what he said above, maybe this film is the end of an era - the final digestive process before moving on to the next creative banquet.

I truly respect Kitano for his bold creativity in film. He seems to attack it as he does his painting. He creates for himself, and I am sure whatever his next project is, it will be unmistakably his own.

The film has a lot of potential, with tons of funny and impressive scenes and situations, characters who are made complete and alive with only a few brush strokes. It starts off as a wry satirical depiction of Japan's TV land and "Jollywood," and becomes increasingly surrealistic as it moves along (I'm using the word moves very loosely, as I couldn't see much plot development). It's Takeshi's 8 1/2, referencing a lot of the director/performer/producer's earlier work and showing his agony as artist and celebrity... There were also references to several classics (Scorcese's Taxi Driver comes to mind, for one) I'm only giving it a 4, as the last third of the film falls apart in a jumble of disjointed scenes, some of which remain too static too long.

I felt that Takeshi's contained enough stuff for several enjoyable movies, but a lot of it went to waste and was repeated ad nauseam. I think viewers could have a better experience with this movie if they were prepared to sit back and relax, enjoying eye candy and little bits thrown on the screen. To expect a follow-able plot would be a big mistake!

I wasn't too keen on this film. While the overall plot is intriguing, with the 'real' Takeshi Kitano contrasting a 'look-alike' Takeshi Kitano with some interesting plot points, sequences and a story that is actually well-acted and entertaining, the style of this film took me for a loop.

Some sequences became fantasy sequences, but this wasn't realized until after the fact. Hence, this left me second guessing the truthfullness of the narrative as I was watching. The second guessing feeling, I think, held me back from fully engrossing myself in this as I started to question the story-teller and what I was seeing on the screen. When the movie ended, while the majority of these jumps in time or possibility were explained, I still had some uncertainty about what had actually happened. This feeling of not really knowing what I saw left me feeling very uncertain, and slightly confused. Somehow, I prefer movies that are relatively straightforward -- at least by the end of the story.

On the plus side, strong acting overall which viewers will find enjoyable. Seeing one actor play two strongly contrasting characters so well is indeed rewarding in itself. For that alone, I would recommend checking this out.

Having seen a lot of Kitano Takeshi's work, one has to realize that this guy is totally hit and miss. Sonatine? Hit. Brother? Miss. Zaitochi? Hit. ? Miss. And then we have Takeshis, which I'm proud to say is probably the worst movie I've seen in a number of years. This film, about 2 Beat Takeshis! One the famous one, and one a failed actor. Both lead their respective lives, with one basking in the glow of his fame, and the other struggling to get by, But when the failed actor gets a hold of some weapons, he decides to become Takeshi the gangster, just like the movies! All this sounds incredibly neat, doesn't it? But the film is presented in such a jumbled mess and scenes and characters that don't make any sense until the last scenes of the film, and it's a total cheat. Make that a DOUBLE cheat, because there's two false endings in the film, both will make you groan, because they're the cheapest way to explain everything that happened. Kitano should be embarrassed with himself.

For those of you that may not be familiar with the Japanese Artist Takeshi Kitano, let me first introduce this multi talent. This really is necessary, as most Western People only know him from his Japanese Television Show Takeshis Castle, which has very little to do with the rest of his work and my confuse some of you. Kitano became famous as Beat Takeshi, and still most people in Japan refer to him with that name. You may think that this name comes from his often violent movies, but actually, he got this name while doing slapstick comedy in a duo with another comedian. Nowadays, in Japan, he is most know because of his daily television shows and radio emissions, that range from political/satirical to pure comedy and non-sense. In his own country, not that many people know that he also is an ingenious movie writer, director and actor, very often doing all of them during his movies. He owns his own studios and makes films that very often don't receive the recognition and appreciation they should, although he has in recent years been nominated or won on several occasions for Golden Lions (Hana-bi, Zatoichi, Dolls, Takeshis), Golden Palms etc. But part from these media appearances, he's also a great painter, photographer, cartoonist, writer and poet.

He made his directorial debut in 89 for the movie Violent Cop. He was only supposed to play the main character, but as the director dropped out, he overtook that role too and revised the whole movie. In case you've heard otherwise, his movies are not only about violence and Yakuzas, although in some cases they play a significant role. But they never stand for themselves, they always stand for something deeper most people may not realize.

Now let's come to his latest addition, Takeshis'. It is a master piece in every sense, but if you actually not into his movies, I strongly recommend not starting by this one, as you won't understand a thing (even if you speak Japanese:-). I'd recommend any newbie starting by Hana-bi, continuing with Kukijiros Summer, then Dolls and then Sonatine. This may sound like a lot of work, but it's definitely worth it. Please consider at least watching Hana-Bi, it's a fantastic movie from every point of view. Along those movies, you'll get used to the Japanese way of thinking, Kitanos visual and poetical styles, it will be very difficult to understand the very abstract but still hilarious movie Takesihis'.

I would describe the movie itself as David Lynch meets Haruki Murakami, Kitano style. I think if you know and appreciate each of them, you'll get my point. I don't want to and wouldn't be able to spoil any surprises, still I'm not going to tell you anything further as it would be impossible to reach the subtle brilliancy of this work of art.

First up is Takeshi Kitano's "Takeshis'" First off, thank you sweet Jesus, they have replaced the seats at the Ryerson theatre. There is still a sore on my right ass cheek from last years screening of "I Heart Huckabees". You remember those seats don't you Stef! Liked that film… and I thought Mark would love it. Was wrong, he couldn't sit through it.

Now, back to "Takeshis'". This is the forth 'Beat' Takeshi film I caught at the Toronto Film festival, and never seen him introduce a film yet. Does he do other festivals? Who knows? Basic Plot : 'Kitano acts opposite himself, playing both the ordinary guy - also named Kitano - and the director's real-life alter-ego, TV and cinema star "Beat" Takeshi.' This is a film for fans of Kitano… if this was your first 'Beat' film I think you would be totally lost. I've seen several... and that didn't really help me much at all. Beat is playing two different characters... (with different hair color... or do they?). There is a ton of foreshadowing going on as well… quick flashes of plot. Me thinks it is a parody of his previous work, just not sure if he is a fan of his image or not. Certainly would have asked him… if he had shown up. Beat must be a song and dance man at heart because just like "Zatôichi" , dance numbers pop up at odd moments. The crowd was quiet during the screening for the most part. The limited action scenes were so over the top they must have parody... or fantasy maybe? Who the hell knows? Overall, Disappointing.

The story's simple enough. Two men, both called Takeshi, live in Tokyo. One is a well-known actor and one is an actor-wannabe who works in a convenience store. The two Takeshis are being played by the director of the movie Takeshi Kitano. It may sound a bit like "Being John Malcovich" but goes far beyond that.

Sure, the movie isn't for everyone but it's definitely interesting and at parts very visual and imaginative. It's without any doubt the most extreme Meta-movie I ever seen.

When a movie has many layers you usually describe it as a "deep" movie. Takeshis has an enormous amount of layers but most of them are paper thin, if not shallow. In the beginning you try to keep track of whether you're watching a dream or one of the two Takeshis reality. It turns out to be a futile task, especially after one caterpillar-scene too many (You'll know it when you see it).

Do remember that this is not "Memento". It's not really meant to make sense. OK, I've always been allergic to the popular urge to over-explain everything in movies but Takeshis might be a bit too far in the other extreme. A heady cocktail of randomness and logical short circuits but not more than most people experience under a good nights sleep, which is what this movie is all about. Dreams and dreams within dreams.

Please, watch Takeshis with an open mind. You either regard it as an aged directors milestone after a long and creative odyssey of ups and downs, much like Fellinis "8 ½", or you can look at it as an overstressed actors brain fart after too many crazy TV-shows and gangster movies.

It's a bumpy ride, it may be a bit too long, weird and garish but you might have a few laughs and at least you have something to talk about afterward. A bit like a theme-park then, isn't it?

Beat Takeshi's latest film is a long slow and self indulgent attempt to move out of the yakuza genre. The film begins like "Curb your enthusiasm with Beat Takeshi" as we follow the iconic star through his daily life. The film shifts gear as he meets his doppelganger, a jobbing actor and convenience store clerk. Then it begins to get "surreal". But unfortunately Beat Takeshi is not a very interesting surrealist. This is surrealism for people who think that the matrix is surreal. He uses lazy wackiness and unoriginal symbols in laboured dream sequences. We've seen it all before and its very boring.

But Takeshis becomes an interesting satire on media violence and develops some interesting visual moments in its later stages. It appears to be a discussion of how takeshi's previous films and persona could be interpreted. A self reflexive work. Not a bad idea. Just poorly executed even though Takeshi's skill in editing, black comedy and orchestrating vioence is still present. The ending is also an annoyingly neat cop out. A final indignity at the end of a film that is far too long.

Very disappointing.

The big star of the Japanese gangster movies Takeshi Kitano takes a break to make a very different film, half fantasy, half dark comedy making fun of ... himself and of the Japanese cinema system, American films influence, and the film fans culture of fascination with their stars. Takeshi dominates the movie in the double role of himself, the famous actor and himself, the failed clown he could have become if his life hah taken a different turn. There are several layers this film can be read, but at its core are the about 30 minutes of surrealist dreams in which the failed actor fixes his life on an alternate violent and grotesque style. This is where the film fails, as Kitano the director is neither Fellini or Kurosawa, nor a David Lynch with enough imagination for his dream world to represent a true screen alternative to the real (?) life of his screen star alter ego. The film is a nice try, and Kitano aficionados will certainly love all its nuances and connections to the actor's career, but it does not stand strong enough as an original creation.

The film is very poetic! If you are looking for a traditional narrative format, you may not be satisfied. It is a very complex film, and the structure is very complicated, too. The plot seems not making any sense, but it is so attractive, making you watch it all the way from the top to the end. Though the flow of the film is like dreaming, all the transitions are so smooth and surprising. The film creates you a very rare film-watching experience, which is very unique and new. Maybe, it is Takeshi's version of Fellini's "8 1/2" In my opinion, it is the 2nd best film of all Takeshi's work, after Hana-bi. It is very courage for Takeshi making this successful film.

Many will say this was a very strange film ; a film only for Kitano's fans. And yes, those who have an open mind and those who have seen and loved most of his previous films will love "Takeshis'". Enough said about them.

Now, about all the rest, and its the majority of the audience, I think you cant use too many words to describe this film, and at the same time, there are so much one could say about the feedback he or she got from it.

What everyone will accept though is that "Takeshis'" is a brilliant idea. But not only about the story itself. Its mostly how the director is using the story to comment the characters he has created as a writer/director over the years, that makes it brilliant.

So newbies, go see this movie and if not anything else, you will laugh a little. But if you are lucky enough to sit back and enjoy it, you will possibly give yourself the opportunity to enter the beautiful world of Japan's greatest director today.

Quirky? yes. Disjointed? Yes. Hysterical? Absolutely. Having watched Kitano's interpretation of Zatoichi, Blood and Bones, Brother, Kikujiro and Battle Royal I and II, this movie is a complete spoof of his recent movie making career. How he managed to bring so many actors from all of these previous films onto one stage is quite something. In all honesty, viewers shouldn't try to read too much into Takeshis'. It's Kitano. It's Kitano showing us what he feels we know of him in his films. Explosive, comical, distant, a little off the hook. Takeshis' won't make much sense to someone who hasn't at least seen some of the aforementioned movies. Takeshis' is classic Kitano. You either like and understand this fellow, or you scratch your head in wonderment.

I don't think it's even possible to understand this movie if you aren't Japanese. And I'm not even sure most Japanese fans will really understand it. I can see elements of other Beat Takeshi films from Battle Royale to Zatoichi. And I'm sure that there are tons of references that I just don't recognize. But that's perfectly okay.

If you think of this film as music for your eyes and don't worry about understanding it, it's very enjoyable. You could also say that it's meant to be looked at instead of 'watched', like a moving painting. It isn't necessary to understand every tiny piece to enjoy the whole. But don't let that scare you away. This isn't artsy fartsy crap. There are boobs and guns and yakuzas to keep it interesting.

Of course I'm sure that many who consider themselves knowledgeable about Japanese cinema and Beat Takeshi in particular will think I'm talking out of my butt and will try to analyze and explain every little piece. And that's okay too, as long as they take time to actually enjoy the film.

Imagine if Jim Jarmush and Federico Fellini decided to re-interpret David Lynch's 'Inland Empire' and you might have a description of Takeshis.

This is not to say that one film borrows from another (even though they were made around the same time) but there are some resemblances. For example, here a 'mix table' driven dance party takes the place of Empire's black rabbit comedy show, and seems to form some kind of a center connecting all of the time lines / dream sequences together.

It's not for everyone, and like Empire it does take a lot out of you, but it's wholly original and definitely one of his best.

Auto derision is an art which has not been able to find favors with many nationalities.There are people who know that Italian people are famous for mocking themselves.It is rather strange that not much is known of Japanese people and the manner in which they like to ridicule themselves.Takeshis is a brilliant film in which we can see sensei Kitano Takeshi settling scores with himself.This is his manner of making fun of himself.He plays with perfection two of his most memorable roles.On the one hand there is a superstar who is always surrounded by cinema people.On the other hand there is a clown whose company consists of some losers who are trying to make it big in their lives.Japanese director Kitano Takeshi must be congratulated for making a nice Japanese film which mocks cinema business.It is for this film that Takeshi Kitano has given yet another outstanding performance. He shows us well as to what extent Hollywood has influenced ordinary people all over the world.We are shown how ordinary Japanase people talk with ease about icons of American film culture like Humphery Bogart,Vivien Leigh,Gone with the wind and Roman Holiday.Takeshis is a film full of comic violence which would create more ripples of laughter then long hours of silence after a film is over.Why should one watch Takeshis ? It is simple to state that it is an excellent film within film.The best thing about this film is that it shows us that currently cinema business is run by people who do not value cinema.This is one of the worst injuries heaped on the inimitable art of cinema.

Takeshis' is the only Kitano's film that i have been hesitated to watch. I even watched it after Kantoku Banzai. The reason lies in several bad comment about this movie, even from Kitano fans, that its unusual and its not a Kitano film. I realize that there are not many of his works contain as much thought as Takeshis'. Open ur mind and think about the film. If u're a fan of his yakuza movies and expect only yakuya film from Kitano, u shouldn't watch this film becuz u won't understand anything. I would recommend u to read his biography, try to understand him once. Why he desired recognition too much? why he became disillusion about the TV world? why he drove his scooter and crashed? Why there is change in his films before and after his fatal accident? Why he try to not let u watching the same thing every time? When u can answer all of these questions, u're ready to watch Takeshis'

And of japanese TV productions, but then not many other Kitano movies deconstruct japanese TV production (Getting any? Might be the only other one), so that one kind of is a given.

Also, you have to add the "in a Kitano movie" part, because if you havent seen his interviews on the topic (largely that he often feels that he does TV for the money they are offering him, and then he just delivers what is demanded from him, and turns his head (critical thinking) off other wise) it would be hard to interpret what you are seeing on screen here - as the movie also isnt very accessible. :)

Takeshis' juxtaposes the life of "famous Takeshi" with a beat down, further along the way than just starting out version of him, that has had no success in life, and then gradually gets power, money, the girl - and then again has everything taken away from him in the end again -- largely to underline the nature of it all. So you can experience what it does to him as a character one step at the time, some times in wrong periods of his "raising to success" story. And not so much, because of -- as the convention goes, the successful Yakuza (as well as the film noir antihero) has to always die in the end for it to be an "acceptable movie" - at least according to the Hollywood conventions in the Bogart and Bacall days. A reference to which the movie also includes.

(Because you couldnt portrait a successful gangster on the silver screen. But then - not much has changed in movie making conventions since then, and in Japan it probably still remains the same.)

The movie also explores the themes of the beat down "nothing more to lose" archetype that then grabs some form of power, as soon as it is presented to him, going down the selfdestructive route - but that just makes it a Kitano movie and isnt so much the main attraction here. So enough preface, lets review the movie. :)

There is a key scene in it that even sticks out to me two days after watching it (again - I believe, but my first time seeing it was at a festival years ago, so this was a fresh experience) and it is the aloof TV personality of the artsy type singing in a cabaret at night in front of a packed audience.

The songs bridge and refrain are, that "the singer can still hear the workers song, the one the poor workers were singing, back in the day, working oh so hard hard" - and her performance is bad - as the entire emotion of the scene spells out the opposite. The audience enjoys it just as much though. This then gets interlinked into the performance of three step dance artists representing having fun on stage as the youthful - carefree artist', which then gets interlinked into literally a dead man dancing the robot on stage. That then cuts into a mediocre DJ scratching records on stage, which gets an intercut to fondling a womens breasts - a representation of why the person is drawn to work "for the fame". Which is also a reoccuring theme played with throughout the movie. But thats not the entire scene -- the singing of the aloof artsy type TV personality in the packed cabaret club at night, also gets an interlinked dream sequence where two sumos (representing conformism and stupid slapstick to the end of their roles in the movie) bash an oversized caterpillar into the ground "working really hard", as the song thats sung keeps reminding you of.

The caterpillar theme is explained in the movie outright. Kitano hates the flowers he gets presented with on TV all the time (again interview knowledge about the man) and would "much rather be represented with more money" (as the artist adds with a grin), not so much because of the flowers (that get dumped in the trash in the third act of the movie), but because of what they represent. This is more subtly presented throughout the movie - if you look at all the scenes representing the same flipping bouquet of flowers, but its negative meaning then also is openly anchored to a small little fairy tale to make it hit home for the audience. The fairytale goes as follows:

"I always hated flowers. Sometimes they even have thick caterpillars in them, that then - when you bring them home develop into ugly, scary moths."

No beautiful butterfly to be found in this movie.

Well, you get your scene at the seashore again, so theres the heart if the movie, right? Well - in as much, as you get a ball gymnast performance of the beat down Takeshis girlfried he attained through the allure of "power" (presented to the character at a stage too late in life and in the movie) on the shore, who is then immediately picked up by her former boyfriend, as soon as Takeshi sits by the seashore in a more contemplative mood.

No one is spared in this movie.

The fame or power "makes the character ("the Takeshi") and the surroundings, and his interactions" representations are everywhere in this movie, and they are unfiltered (no artists eye on them - more a philosophers harsh gaze). They constantly get interwoven with the superficiality of every interaction, with the real "parasocial bonds" that fans build up to a famous actor being "best ignored -- dont be stupid" - because of the dreams and emotional investment fans put into them, only superseded in frequency by scenes depicting how much worse TV production makes any given scene we know from Kitanos movies. Objectively worse. With a bluescreen, digital effects, harsh lighting and cricket sounds, you know -- on TV it will just look like Okinawa. Except that it will not.

Dont go that way!

(I cant anymore, the car is too heavy, you have to get out - no go on, you can do it, drive on -- you can transform, caterpillar - go on, you must transform, like society tells you, in those old folk songs, to get the girl and ...)

Cut back to Kitano on the fake movie set in Okinawa: "Damn crickets!" *draws a gun**blast**bang*, thats better - and I'm done with you too (looking at the female companion in that scene) *bang*.

If your famous thats what you do - people will still love you. And tell you how great you were in that scene. The power you wield.

To the clown, Takeshi Kitano

Except, that you will overdo it. And then Kitano ought to die. According to movie conventions. Wielding no more power Kitano has to kill Kitano with a knife. As Kitano even took the dignity away from him.

Kitano says nothing

"I envy you, killing all those Yakuza at the end of the movie, Takeshi!" "There are no Yakuza like these in real life, idiot." (Kitano says nothing.)

Then the movie ends with him killing everyone. An entire society (of Yakuza). Which seems about right.

Its only the scene with the GI thats a bit uncanny. Has american culture been the culprit here all along? Or just the first american movie that gave Kitano his break? Regardless, the Yakuza has to die at the and of the movie, as has the japanese soldier. And then Takeshi dies.

If you gave the movie a bad review, because it was boring, or because it has so many artificial layers it ventures into the absurd at times, you are the person whos actually being laughed about. But dont worry, you get your Yakuza ultra violence movie on top of that as well - so it will kind of work for you. And then you get the power fantasy, you get the girl, and then some really odd stuff happens in the end, but with great (absurd) action packed on top, so 5/10 stars? Keep on dreaming. :) You dont even know the first part of how the writer, director, actor sees you in your role. Which seems about right.

Kantoku Banzai! (2007) Is a more accessible version of the same theme, representing Kitanos view on society at large - because it makes you experience those moments while making you laugh (the Japan in the 50/60 scenes). This one is more to the point but also more analytical, and explores individual (but archetypal) peoples behavior (You cant buy a used Porsche, you have real money now ! Give me money! Here is 1000 yen, give me change. He is there! He isnt a grumpy cook anyway, look at him, hes not what we are looking for. I have to pay? Dont talk to her, her gift cant be worth much anyways. When you get the role, I will sleep with you.) towards fame and power. And of the business of japanese TV making.