Sonatine is an anti-gangster movie. One thing I like about these 'anti-' movies is that they break free from the pre-existing boundaries, so called rules, which dictate how and what the movie should be like. These limitations stifle the 'genre' films, inhibiting these films from exploring new realms of uncharted territory. Before this movie was made, the director Takeshi “Beat” Kitano was already well known in Japan, not for violent gangster films but as a comedian. As a result, this movie took Japanese audiences by surprise... and it performed poorly in Japan. However, Kitano's gangster persona was well-received in the West. Why? It was something Western audiences were unprepared for. Like I mention before, the 'gangster' movie genre was thought to be about violent, cruel men. Who wants to see childish gangsters? Who wants to see the more jovial, fun-loving side of the life of Yakuza members? But dont worry, this movie does deliver on the violence... and you would be caught unaware as well.
For most part of the film we follow Kitano's character, Murakawa as he and 4 other gang members retreat to a sea-side house after being ambushed by the rival Anan clan. As they wait for things to blow over, Murakawa and the others engage in light-hearted games. They cant escape from their past though, and in the end, as well already know, tragedy would befall them.
What I like about this film is that Kitano does not force us to like his character. (In an earlier scene we see Murakawa beating up another member without flinching at all.) Instead, through those innocent games (okay some arent really innocent. The Russian Roulette scene for example) we get to sympathise with our characters. We get to know them, we laugh with them. Throughout the scenes at the beach there is this pervading sense of dread which we know, would inevitably come. Therefore we the audience, like Murakawa and his gang, try to cherish these fun times as much as we can. We do not know what is going on on the 'outside world' – what about the negotiation between the 2 rival gangs we know nothing about that. Murakawa himself, despite having a tough Yakuza persona, is clearly shown to be afraid of death (as seen from his dream). In this tranquility, we see that our anti-heroes behave just like ordinary men, not like some blood thirsty Scarface superhero who does not fear death.
The violence does not disappoint. Scenes of violence are very abrupt and sudden (a devise which Kitano would employ in his later more successful film Hana-Bi). Such heightens the brutality of those violent scenes. There is one scene in particular which is extremely well done; Kitano's character realises that two of the guys in the elevator are the ones he plan to kill. And then following a shoot-out, the camera cuts to the dead bodies. I love this scene a lot.
For most part of the film we follow Kitano's character, Murakawa as he and 4 other gang members retreat to a sea-side house after being ambushed by the rival Anan clan. As they wait for things to blow over, Murakawa and the others engage in light-hearted games. They cant escape from their past though, and in the end, as well already know, tragedy would befall them.
What I like about this film is that Kitano does not force us to like his character. (In an earlier scene we see Murakawa beating up another member without flinching at all.) Instead, through those innocent games (okay some arent really innocent. The Russian Roulette scene for example) we get to sympathise with our characters. We get to know them, we laugh with them. Throughout the scenes at the beach there is this pervading sense of dread which we know, would inevitably come. Therefore we the audience, like Murakawa and his gang, try to cherish these fun times as much as we can. We do not know what is going on on the 'outside world' – what about the negotiation between the 2 rival gangs we know nothing about that. Murakawa himself, despite having a tough Yakuza persona, is clearly shown to be afraid of death (as seen from his dream). In this tranquility, we see that our anti-heroes behave just like ordinary men, not like some blood thirsty Scarface superhero who does not fear death.
The violence does not disappoint. Scenes of violence are very abrupt and sudden (a devise which Kitano would employ in his later more successful film Hana-Bi). Such heightens the brutality of those violent scenes. There is one scene in particular which is extremely well done; Kitano's character realises that two of the guys in the elevator are the ones he plan to kill. And then following a shoot-out, the camera cuts to the dead bodies. I love this scene a lot.
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