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Hindi Pistol Opera
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The No. 3 assassin of Japan is given the chance to usurp No. 1 and take their place.
Did you know that there is a ranking of the best assassins of Japan? In the spirit of 1967's Branded To Kill, also by director Suzuki Seijun, comes Pistol Opera. The assassin ranked third is out to kill the first and move herself up the ladder of hierarchy. What follows is drama, action, a mysterious visitor, an impolite manhandling of a man in a wheelchair, Japanese costumes, several employment offers, a couch and even a pre-teen girl.
If you've never seen a Seijun Suzuki film don't start with this one. I cannot state that strongly enough.
Taken as a film in isolation, judging it on its own merits, this film fails. Fails interestingly, but fails.
The acting is appalling. The script is pretentious gobbledegook. There are parts of the film when it seems like even the director is sleepwalking. The sets and props are clearly badly made. The actors aren't very good or even interesting looking. The soundtrack is bad. Your friends will think you're a paedophile.
BUT... There are incredible moments in this film. Jaw dropping changes of colour. Symbolic actions. Bizarre perspectives. A new way of looking at everyday items and interactions. Some moments that recall the old thrill of watching the original "Branded to Kill".
The sheer ambition of certain moments is heartening. You think of things like German Expressionism and pop art and say "wow". It's tantalising.
This is a film interesting for those people who've followed Suzuki's career and want to see his next experiment in non-realist cinema and storytelling. Unfortunately that's the only level on which this film works.
I was eager to see "Pistol Opera" for a variety of reasons. I had recently seen "Branded to Kill" and the idea of a follow-up/sequel/remake by the same director intrigued me. Furthermore, I am a fan of the lead actress, Makiko Esumi, from her work on Japanese TV.
Sadly, this film goes nowhere...slowly. The plot seemed simple enough but within minutes I was lost. These "professional killers" spend nearly the entire film killing each other which begs the question who is employing these people and what purpose they serve. Lots of these scenes look wonderful and have some fun ideas, but nothing makes any sense. Characters deliver long, meandering soliloquies into the camera, flip-flopping from Japanese to English and back again. Neither language adds any clarity to the circumstances. The whole thing feels like some kind of experimental stage play, especially the final showdown where characters enter and exit bizarre scenery accompanied by strange, nearly naked dancers.
What the hell?
Too abstract and self-referential for the average action fan's comprehension. But buffs will be delighted by a package that finds the near-80-year-old helmer giddily tipping hat to the genre conventions, themes and over-the-top aesthetics that long since lent him mad-visionary status.
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