Title:
Tokyo Tribe
Director: Sion SonoReleased: 2014
Starring: Ryohei Suzuki, Young Dais, Seino Nana, Ryuta Sato, Shoko Nakagawa, Yosuke Kubozuka, Riki Takeuchi, Takuya Ishida, Shunsuke Daito, Yui Ichikawa, Shoto Sometani, Denden, Hideo Nakano, Bernard Ackah, Hitomi Katayama, Kokone Sasaki, Mao Mita, Yoshihiro Takayama
Plot: In an alternate vision of Tokyo, the
city has been divided up by street gangs collectively known as the Tokyo Tribes
who co-exist in an uneasy state of peace, one which is soon shattered by crime
boss Big Buppa (Takeuchi)
Review: While many of the original outlandish and controversial
directors such as Takashi Miike have mellowed with age its kind of comforting
to see that there are directors like Sion Sono who is still carving his path as a truly original
voice in Asian cinema. Having previously given us suicide cults, killer hair
extensions and the hooters version of a fish shop to barely scratch the surface
of some of the randomness that his films to date have covered. I guess that he would attempt a hip-hop musical
version of “The Warriors” which I guess might be the best way of describing the
randomness he gives us here.
Based on the Manga series by Santa Inoue, this adaptation is shot with a combination of hip-hop excess and hyper-kinetic cinematography, its once again another unique world view that Sono gives us here, right from the opening rap which introduces this world as a grandma works the decks. It’s also in this scene that we get our first introduction to the varied gangs of this version of Tokyo with Buppa’s son Mera (Ryohei) tracing out the territories on the naked flesh of a naïve female cop who attempted to arrest him as he rakes his knife from her breast to her butt.
Unquestionably its once again a colorful
group of characters that we get here, while the sheer number of players however
does mean that only the most outlandish of these characters prove to be memorable
as many slip into the background unless actively doing something to further the
plot at that particular moment. However whenever Takeuchi is on the screen all
attention is drawn straight to him, as his crime boss Buppa seems to have been
inspired by every crime boss from Tony “Scarface” Montana through to Durant
from “Darkman” as seen by his cigar box
of severed fingers. Here Takeuchi somehow manages to crank up his usual
snarling style several more notches than his usual craziness as he commands the
screen every time he’s on, whether he’s groping his amply breasted wife or jerking
off with a black dildo he’s a fantastically cartoonish creation and one which
Takeuchi seems to be having a ball playing. While Buppa might have made for a suitable big
baddie on his own, much of the heavy lifting required to maintain his empire is
handled by equally psychotic sons the aforementioned bleached blonde Mera while
his other son languishes in “A Clockwork Orange” inspired room of living
furniture.
While
the film might be a hip-hop musical in Japanese, a language whose suitability for
the musical style is debatable, especially going off the frequently droning
tone that most of the raps take here which is more worrying when you consider
the amount of actual rappers amongst the cast. That being said even if you’re
not a hip-hop fan it never overwhelms the film to point where it is unenjoyable
for the non-fans. That being said around
the halfway point Sono seemingly loses faith in the concept and instead opts to
turn the film into an all-out kung-fu spectacle as the rapping is changed out
for stylised ass kicking.
Action
wise if you were impressed by what he brought to the screen previously in “Why
Don’t You Play In Hell” here he cranks up the energy even further to create
some great set pieces including a showdown in a room which hides a giant fan
which is put to great use thinning out most of the cast, while we also get a
sadly too brief Bruce Lee homage and a character being turned into a human pin
cushion via a dozen samurai swords to the chest. True none of these scenes are
aiming for realism, as instead Sono aims to only add to his ongoing spectacle but
when shot with such a sense of chaotic fun as it is here, such things hardly
matter.
Perhaps due to the
sheer amount of characters and muddled plotting it wasn’t until I watched this
film for the second time that I was able to appreciate it, having been left
with a sense of indifference after my initial viewing. Perhaps more flawed than
some of his other films, this is still a highly unique film from a director who
continues to prove himself as an original and exciting force in Asian cinema,
making it little surprise that critics / Asian cinema fans continue to draw comparisons
between him and Takashi Miike even if perhaps Sono is barely pushing the
boundaries of taste in the same way that Miike did during his outlaw years. In
the meantime though this is another great entry into an already impressive body
of work, even if perhaps it fails to reach the same levels of some of his more
recent films, this is still an experience worth having.
No comments:
Post a Comment