Takeshi Kitano not only writes, acts in, directs and edits this meaningful fable, he also paints the artworks that are a strong element of the film. Kitano is supposedly known for his violence, but this movie has more to do about the repercussion of violence--and about life and death in general--than showing actual violent scenes. The violence is there, bursts of explosive violence, but it is short and strategically edited.
Nishi, the protagonist, sees his partners die or get injured in the line of duty. One of them, Horibe, becomes wheel-chair-bound. His wife leaves him and he contemplates life and death staring at the horizon beyond the sea. He starts to paint to express himself and save himself from boredom and sorrow. Nishi, sick of his work leaves the police force to spend some time with his dying wife. The doctor just released her from the hospital and she does not have much time left...
Kitano chooses to focus on the underlying emotions rather than dialogue as most of the scenes with his wife are silent. At first, this is unnerving, but slowly, as the movie progress, we understand that there is nothing left to stay.
The score of the movie is its strongest point. Accomplished composer, Joe Hisaishi (who worked with Kitano on other projects as well as with Miyazaki's animated films) outdoes himself with poignant classical music that, unlike Nishi, speaks volume. He would win the Award of the Japanese Academy for this.
Some good cinematography can also be observed at times. Kitano's paintings are interesting and vibrant. They add yet another level of complexity to this intriguing piece of film. All in all, a very well made film.
Nishi, the protagonist, sees his partners die or get injured in the line of duty. One of them, Horibe, becomes wheel-chair-bound. His wife leaves him and he contemplates life and death staring at the horizon beyond the sea. He starts to paint to express himself and save himself from boredom and sorrow. Nishi, sick of his work leaves the police force to spend some time with his dying wife. The doctor just released her from the hospital and she does not have much time left...
Kitano chooses to focus on the underlying emotions rather than dialogue as most of the scenes with his wife are silent. At first, this is unnerving, but slowly, as the movie progress, we understand that there is nothing left to stay.
The score of the movie is its strongest point. Accomplished composer, Joe Hisaishi (who worked with Kitano on other projects as well as with Miyazaki's animated films) outdoes himself with poignant classical music that, unlike Nishi, speaks volume. He would win the Award of the Japanese Academy for this.
Some good cinematography can also be observed at times. Kitano's paintings are interesting and vibrant. They add yet another level of complexity to this intriguing piece of film. All in all, a very well made film.