Takeshis'

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Movie
German title Takeshis'
Original title Takeshi's
Country of production Japan
original language Japanese
Publishing year 2005
length 108 minutes
Age rating FSK 18
Rod
Director Takeshi Kitano
script Takeshi Kitano
production Masayuki Mori
Takio Yoshida
music Nagi
camera Katsumi Yanagishima
cut Takeshi Kitano
Yoshinori Oota
occupation

Takeshis' is a self-parody comedy by Takeshi Kitano from 2005. The leading roles were played by “Beat” Takeshi Kitano, who, according to the New York Times, is “ the world's most productive split personality ” . The script is based on an idea called a " fractal " by Kitano.

introduction

"Beat" Takeshi Kitano plays three (source?) Roles: a Japanese soldier, Mr. Kitano and Beat Takeshi. The comedy , narrated in the form of interleaved dreams and turbulent and bloody in the second half, is interspersed with bizarre leitmotifs , an associative cut-up and actors in double roles who appear where they are needed with little regard for context. Kitano makes strong references to his earlier works and arguably his biography as well.

Beat Takeshi (black-haired) is a successful yakuza performer, Mr. Kitano (blonde) is an inconspicuous, unhappy part-time clown. Both have a rich imagination.

action

An Imperial Japanese soldier lying wounded among the ruins of World War II is found by American GIs .

In the present, Beat's girlfriend passes a sleeping taxi driver in a Rolls-Royce , remembers receiving an African clergyman, and her chauffeur gets out and thinks of a scene from a film by his boss: a massacre from a yakuza thriller . The film is also shown on a TV in a mahjong room where Beat is playing. Beat later remembers an argument with his producer over a glass of water, recommends his chauffeur to become a taxi driver and reprimands him for not buying the right-hand drive Rolls. He goes to eat noodles , meets the transvestite Miwa, and in the studio meets the father of a young Onnagata (with a football under his arm) who wants a role for his son. He makes sure that the tap dancers are all right. He meets the clown Kitano and gives him an autograph . Beat has a tattoo on his back in the studio, and wearily discusses with his manager what this Kitano's life might be like.

A female fan confuses Mr. Kitano with the movie star in front of his apartment and gives him a doll , which he receives with little surprise. Then he goes to bed in front of the Hell Heat movie poster .

Beat does a headshot suicide in a beach house , with an abdominal bandage, and in bright spotlights.

Kitano is woken up by the sunshine and the noise of the workshop over which he lives, and goes on foot to a casting for the role of a roaring cook in a beat film, and comes to the fan, Rolls-Royce and chauffeur right outside his door past. His neighbor and his sloppy girlfriend keep mocking him in front of his rented apartment. A clown insults him in the street. During the casting, he competes with an employee who is too shy for the role, a method actor who oversees the target and a yakuza who cannot remember his lines, and Kitano is obviously so unsuitable that the producer breaks off the audition without saying a sound. In the breaks he indulges in cinematic fantasies of violence. E.g. with her head bowed in a Porsche in the smoke, or remembers how he caught a shoplifter (who looks like the producer) who then had to take two packs of chewing gum with her, but used the opportunity to change money, or that he actually gets the role. He loses to a taxi driver while playing mah-jongg, and sees the yakuza gaining respect there with gun drawn. In the noodle restaurant he is humiliated by roaring cooks (who are exactly the same as the clerk and the yakuza). Kitano dreams of a life as a taxi driver, in which he only ends up hopelessly overloaded in slalom on piles of corpses and then in the abyss . At the second casting with yakuza sayings, he doesn't get a chance again because of the evening's work, and he doesn't get the job because Beat has had his hair bleached and he now looks too much like the star. A suitor (who resembles the studio cloakroom) gives him a bouquet of flowers in his supermarket. He nods off watching a centipede in it.

A blood-soaked robber, who is on the run from the yakuza, drumming on the counter, pulls him out of his sleep and hides with him, and Kitano comes to a bag with an arsenal of weapons. At home, over spaghetti with a glass of water, he thinks about how he would not throw the robber into a garbage can without resistance, and he imagines how it would end if he went armed into the noodle restaurant. The next day he begins to take revenge . He seems to be settling accounts with the neighbor, he runs off with his girlfriend, wages a mah-jongg bloodbath (spares the taxi driver) and runs the rampage in the noodle restaurant (lets the twins get away). He commits a brutal bank robbery in the taxi (leaves a bank customer alive) and has a nervous breakdown because he runs out of change. Then he equips himself like Beat (black suit, sunglasses, red Porsche). The lead showdown between Porsche and Rolls-Royce is followed by a shootout with u in a variety show after two sad songs by Miwa, the paper mache millipede and a tap dance. a. the blood-stuck owner of the bag, who is also a breakdancer . The DJ scratches one last time when he is hit in the chest with a large caliber, and Kitano's bloodlust subsides a little because the record is allowed to rotate, with a conciliatory hit ( Let's Meet in Our Dreams / Yume De Aimasho - Sumiko Sakamoto). Instead, his hostage fights the bank customer to the death. Outdoors follows a dream with a black guy with a headlamp, a handcar and a tap dance. This is followed by a night mass shooting under the stars. The two spend their time on the beach, and his companion turns out to be Olympic-sized gymnast out. The kabuki dancer, his father and the African clergyman play soccer there. His bride is picked up by the neighbor, the taxi driver grabs the loot from the bank robbery. A battle ensues: Kitano against highly armed police forces. More waves follow in the form of samurai , soldiers with respiratory masks and sumo wrestlers - twins behind shields (the female fan runs into the hail of bullets). He is fatally wounded. The Porsche is perforated and the archetypal bank customer steals the weapons. When he is sitting in the car, exhausted, the kabuki dancer's father pounds on the window and asks him to give his son a chance at the film .

When the robber knocks, Beat wakes up from a microsleep in the supermarket that has only dreamed of everything. He continues to play his film role as a salesman by conquering the bag with weapons and after the "Cut!" He receives a bouquet of flowers from the film crew.

This turns out to be Kitano's daydream, standing in the supermarket with the bouquet of flowers. He throws Beat's autograph in the garbage can, goes to his dreary apartment, wonders where the fan has gone, hallucinates the clown (in the doll), and he remembers that the autograph was not "to Mr. Kitano" as it is he wanted it, but "to Mr. Clown" . He jumps up furiously, takes a kitchen knife with him, lies in wait for his idol at home and stabs him, who dies in agony.

From this nightmare, Beat wakes up tattooing and raises his head with the same gesture as the wounded Imperial Japanese soldier at the beginning.

From this dream the soldier wakes up in front of an American GI in World War II. The film ends with the rerun of the shooting from the Yakuza thriller and a "What now?"

various

The costume design was done by Yōji Yamamoto . Akihiro Miwa sang Ai No Okurimono and Yoitomake No Uta ("Heavy Laborer's Song"). DJ Hanger stood on the turntable.

According to a fansite, the announcement in Cannes 2005 with the simple line “Takeshis '- 500% Kitano - Nothing to add!” ( Takeshis' - 500% Kitano - Nothing to add! ) Without any further information caused “instant confusion” ( instant confusion ) out. Kitano told the New York Times that the “certain distance” between the director and the two main characters would not have been detrimental to the company. The title of the film seems to translate to “Takeshi dies” in Japanese .

Reviews

The film received very different reviews. Above all, it confused viewers and was rarely shown at other film festivals after its premiere in Venice . Anton Bitel spoke of a "self-critical" film, the lexicon of international films of a self-enamored one . The New York Times online offer looked similar to Being John Malkovich , Exclaim called it a "quirky 8½ " .

  • "At around the one-hour mark, I began to doubt the psychological well-being of the author / director / cutter / star." - Jon Popick, Planet Sick-Boy [ sic ]
  • "Kitano seems to fame as a catalyst to see mess with movie viewers who have a natural tendency to mix the canvas person an actor with his private life, and [...] their own lives and those of their Star - role models to be confused." - Bryant Frazer , deep-focus.com
  • "An immoderate, monotonous and ultimately unbearable solo [...] Only recommended for Kitano fans who also consider F for Fake to be Orson Welles ' best film - and there aren't many anymore." - Scott Tobias, A. V. Club

Derek Elley wrote in Variety on 2 September 2005, the " Janus-faced " filmmakers would too early "out of fuel" ( runs out of gas ), from then on, would this "self-reflective layer cake" ( self-reflexive layer cake ) with senseless Plink their "own tail chase" ( chasing its own tail ). The last 35 minutes were a "Parade of artistic frustration" ( display of artistic frustration ) in the first place "depressing" ( depressing ).

  • "A completely useless artifact [...] the epitome of solipsistic [...] that is arrogant and humble - a film that is meticulously constructed and hopelessly chaotic at the same time, a coupling of opposites under sharp tension, sometimes clumsy, sometimes elegant, [... a." ] Footnote Apparatus “- Walter Chaw, Film Freak Central
  • "A film about the old days [...] a joint of self-peeling and self-doubt, which suggests that the stone face would slowly show cracks, at least behind the camera." - Adam Nayman, Cinemascope

Web links

Individual evidence

  1. ↑ Ralph Geisenhanslüke: The silent one. In: The time . 2001, accessed on June 8, 2008 (ZEIT ONLINE 04/2001 p. 12).
  2. ↑ a b c d Schilling, see web links.
  3. ↑ Variety, see web links. "Trashy gf"
  4. ↑ a b Takeshis'. In: SoundtrackCollector. SoundtrackCollector, accessed June 10, 2008 .
  5. ↑ a b c d IMDb .
  6. ↑ a b Henrik Sylow: Takeshis'. In: Kitano Takeshi .Com. Retrieved June 7, 2008 .
  7. ↑ Fansite, see web links.
  8. ^ Anton Bitel: Takeshis'. In: Film4. Retrieved June 7, 2008 .
  9. ↑ a b Takeshis' in the Lexicon of International FilmsTemplate: LdiF / Maintenance / Access used
  10. ↑ Takeshis' (2005). In: The New York Times . Retrieved June 7, 2008 .
  11. ↑ Travis Mackenzie Hoover: Takeshis'. (No longer available online.) In: Exclaim. November 2006, formerly in the original ; accessed on June 7, 2008 (English): "wacky 8 1/2"
  12. ↑ Jon Popick: 2005 Toronto International Film Festival: Day 4. In: Planet Sick Boy. Retrieved on June 7, 2008 : "around the one-hour mark of Takeshis', I started wondering about the writer / director / editor / star's mental well being"
  13. ^ Bryant Frazer: On DVD: Takeshis' (Japan, 2005). (No longer available online.) In: deep-focus.com. July 5, 2006, archived from the original on June 22, 2008 ; Retrieved on June 8, 2008 (English): "Kitano seems to regard celebrity as a catalyst for confusion, with movie viewers having a natural tendency to conflate an actor's screen persona with his real life, and [...] to confuse their own lives with those of their big-screen role models “ Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.deep-focus.com
  14. ↑ Scott Tobias: TIFF 2005: Days Three And Four. In: A. V. Club. September 13, 2005, accessed on June 10, 2008 : “an indulgent, repetitive, and ultimately unbearable riff […] Only recommended for Kitano fans who also think F For Fake is Orson Welles' best film. And that's a pretty narrow audience indeed "
  15. ↑ Walter Chaw: Takeshi '(2005). (No longer available online.) In: Film Freak Central. January 8, 2007, archived from the original on March 24, 2008 ; accessed on June 7, 2008 (English): “an entirely useless artifact […] the very definition of solipsistic […] It's arrogant and it's humble - a film that's at once meticulously controlled and hopelessly chaotic, a junction of oppositions in curt tension that are sometimes awkward, sometimes graceful, [… a] collection of footnotes “ Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.filmfreakcentral.net
  16. ↑ Adam Nayman: Takeshis'. (No longer available online.) In: Cinemascope # 25. Archived from the original on July 5, 2008 ; Retrieved on June 11, 2008 : "It's a movie about the old times [...] a fugue of self-excoriation and self-doubt that suggests that, at least behind the camera, the stone face is starting to crack" Info : The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.cinema-scope.com