Thursday 20 September 2018 photo 2/5
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After his gang disbands, a yakuza enforcer looks forward to life outside of organized crime but soon must become a drifter after his old rivals attempt to assassinate him.
Tetsu has joined his yakuza boss in going straight, but when a rival gang threatens to bring them back into the gang wars, Tetsu must become a drifter to keep the pressure off his old boss.
"Tokyo Drifter" (1966) Dir: Seijun Suzuki
Lured by Criterion's promise of an ultra-cool "free-jazz Gangster film", I sat down to watch "Tokyo Drifter" a couple of days ago and when it was done I had to resist the temptation to watch it again, or at least flick through it. This used to happen a lot when I watched films as a kid - I'd pick something weird and deliberately over my head, barely comprehend what was going on at all, and spend the next few days rewinding the tape to rewatch the best parts. I had no idea whether to like these films or not, and after my first viewing of "Tokyo Drifter" I feel the same. The only difference is, I'm old enough now to realise that this is not necessarily a good thing.
The plot is a pretty linear Yakuza tale. The boss goes straight and decides to buy a building complex in the heart of Tokyo, but a rival gang wrestles the property deal out of their hands. Some violence and a little blackmail later, the ex-gangster Tetsu is forced to leave the big city to keep the heat off his reformed boss. But it's too late - he's made enemies and they're not going to let him just walk away. He is pursued into the county, and a few more fight scenes ensue before he inevitably returns to Tokyo to put things right.
But who are we kidding, we're not really here for the storytelling. The strident and forceful use of colour, whip-crack editing and self-conscious 1960s imagery has been widely praised, and widely drawn upon for inspiration. Tarantino is the most well-known of this film's direct or indirect followers, and since the 1990s this kind of overtly cool and stylish/stylised film-making has become a staple of our cinema-going experience, for better or worse. The truth is, "Tokyo Drifter" is glossy and shallow, with no real attention paid to the actual characters. It's also wilfully unexplainable, which is not automatically a bad thing but I did find it difficult to excuse in this context. It's obvious that Suzuki is not shooting for character depth or realism, so what does he want to do with this film?
Firstly, he wants to do music. The Westernised theme tune is used plenty of times throughout: whistled and mimed by the main character, soundtracking a montage of neon lights, wistfully delivered by Tetsu's nightclub-singing non-character of a girlfriend, and several more. The wonderfully gaudy dance hall owned by the rival Yakuza is constantly playing the exact same rock 'n' roll tune. Secondly, Suzuki wants to find the line between 'clicheed' and 'timelessly cool' and stamp all over it. The enemy boss always wears black sunglasses, and is the object of many hilariously over-stylised zoom shots. Tetsu is capable of dodging intense close range fire by doing well-timed forward rolls into an open area. He is also completely unfazed by barrages of punches to the face and overhead chair-smashings. It all starts to get rather fun after a while, as one inexplicable situation leads into another. I think that's why people like this film - it's a mess of charming logical oversights, and it exists for its visual impact and surreality alone. The final shootout takes place in a very large, almost bare room that keeps changing colour. Tetsu hides behind randomly placed Roman pillars that are far too thin to effectively use as cover. As such, the best parts in "Tokyo Drifter" come when it acknowledges its own preposterousness and runs with it.
I probably will watch this again, just like those other films I saw when I was a kid. The bizarre editing makes the already thin plot quite difficult to follow, but that will alleviate on further viewings. I still can't call this film a success because it provokes more laughter in me than it does awe, or excitement. It's undeniably unique and it certainly is pretty cool, though, which ultimately works in its favour. Despite this, it comes across more as a curio than anything else.
A crime boss and one of his men decide to go straight. In gangster-movie land, of course, their decision is met with conflict as another, rival gang is basically hellbent in messing up everyone's Christmas by bringing the boss's main man, Tetsu, back into the world of violence he's trying to escape. Of course, Tetsu isn't very much of a pushover--in two ways, being that he's both stuck to his decision and also capable of wiping out entire roomfulls of baddies with grace and acumen and a small gun that only fires ten meters.
Suzuki's Tokyo Drifter is called a "free-jazz gangster film", and that fits the description to a tee. It starts out mostly like a French gangster film, with airs of Melville, then slowly escalates into comedy, violence, and more and more mod set pieces, showing influences throughout cinematic history. It wouldn't even really be fair to say it has any one theme or direction, so it also could fit the improvisation view of jazz.
There are some really stunning moments, most of them involving the set-pieces. Suzuki seems to delight in art decor and mod style. He loves bright, striking colors, and his camera work is at times quite flamboyant (the half-gelled lenses during those scenes in the snow come to mind). If anything, this movie is like candy--delicious to the eyes, but would probably have been sickening if there had been too much of it. However, in good sleazy movie form, Suzuki keeps the length to just under an hour and a half, providing respites throughout in some surprisingly tender scenes.
--PolarisDiB
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