Meet the Makers: Takeshi Kitano

[Takeshi Kitano originally studied to become an engineer, but was thrown out of school for rebellious behavior. He learned comedy, singing and dancing from famed comedian Senzaburà ´ Fukami. Working as a lift boy on a nightclub with such features as comic sketches and striptease dancing, Kitano saw his chance when a comedian suddenly fell ill, and he went on stage in the man’s place. With a friend he formed the comic duo “The Two Beat” (his artist’s name, “Beat Takeshi”, comes from this period), which became very popular on Japanese television. Kitano soon embarked on an acting career, and when the director of “Violent Cop” fell ill, he took over that function as well. Immediately after that film was finished he set out to make a second gangster movie in 1990. In 1995, Kitano was involved in a serious motorcycle accident that almost killed him. It changed his way of life, and he became an active painter. This change can be seen in his later films, which are characterized by his giving more importance to the aesthetics of the film, such as in Hana-bi (1997).] — IMDB.com

Sonatine (1993) follows Kitano as Aniki, an experienced but out of favor yakuza who is sent to Okinawa with his men with order to settle a gang war. Aniki reluctantly obeys, despite his suspicions. Once they arrive, the war quickly escalates and his men are quickly perishing. Aniki seeks refuge and hides out in a remote beach house, where he saves a young woman from being attacked. The two develop a relationship, but in time it becomes clear that Aniki was set up. He decides to take action and plot revenge against his conspirators, but by doing so he questions whether he really has anything left to live for by doing so. Kitano opens up and portrays this yakuza with a powerful mix of strength and vulnerability, creating a character we support, despite what he’s done. As will be the case in many of his films, Kitano creates a poetic story about a subject that centers on crime and violence.

Kitano portrays Kikujiro (1999), a loud-mouthed conman, who reluctantly takes on a young boy named Masao as his traveling companion. The boy is setting out on a long journey to find the mother he never knew. Their journey quickly becomes an adventure, as the two experience life together and Kikujiro develops a fatherly bond with Masao. The laughter turns into tears once Masao reaches his destination and the two must part ways. Kikujiro finds his outlook on life changed as a result of his time with the boy. Kikujiro allows viewers to see a lighter side of the director, successfully creating his own marvelous interpretation of Charlie Chaplin’s The Kid.

Brother (2000) brings Kitano to America, again as Aniki, this time having been exiles to the United States. Aniki decides to settle in Los Angeles, staying with his younger half-brother Ken, played by Kuroudo Maki (A Scene at the Sea). Aniki quickly discovers that even on different turf, the rules of organized crime still apply. Aniki makes plans with his half-brother and his partner Denny, played by Omar Epps (House, MD), to take over the local drug trade. Violence quickly begins as Aniki’s small gang methodically takes out the competition. Kitano still manages to incorporate some great scenes of reflection, while depicting the life of a Japanese gangster as almost romantic. Kitano’s style easily translates into the American indie market with great success.

Zatoichi (2003) has Kitano portraying Ichi, a blind masseuse who harbors a secret identity as a master samurai. Kitano creates a modern interpretation of the classic serial films, following Ichi’s wanderings in Japan. Ichi hides his skill as a swordsman, instead playing on his blindness to his advantage as a traveling masseuse with a fondness for gambling. Only when necessary, does Ichi brandish his sword, hidden within his walking cane. In Kitano’s Zatoichi, Ichi stumbles upon two geisha who wish to avenge the murder of their parents. Ichi involves himself in their mission, in turn taking on a town of tyrannical lords and corrupt samurai. Kitano infuses his version of Zatoichi with a stylistic bit of violence, akin to Tarantino’s Kill Bill. The story culminates into a final showdown, revealing Ichi has one last secret.