BULLET BALLET (1998)
Directed by Shinya Tsukamoto
Starring: Shinya Tsukamoto, Kirina Mano, Murase Takahiro
Genre: Drama
Running Time: 88mins

Rating:

Following the suicide of his girlfriend, Goda begins a self-destructive journey as he systematically searches the Shinjuku underworld for the man responsible for selling the gun used to end his girlfriends life. Throughout this obsession Goda's path crosses with a gang of dysfunctional youths, living in a world where rebellion and insubordinance are just a part of life and no longer a cause. What's left is a road to total self-destruction, created by a new world of violence, revenge and retribution.

With Bullet Ballet Tsukamoto has clearly returned to the low budget style of his incredible debut "Tetsuo : The Iron Man". Shot in a stark black and white on 16mm, Bullet Ballet is quite possibly Tsukamoto's most impressive film to date. Encapsulating a whole range of emotions from loneliness, emasculation, social decline, and self-destruction, Bullet Ballet feels like a true concern from Tsukamoto referring to society in Japan. While the hyper-kinetic editing and camerawork is all correct and present, as in Tokyo Fist, there seems to be much more at stake here than simply entertainment. The surrealism of his earlier efforts is somewhat restrained, paving the way for this Tsukamoto's first "message" film.

The journey that Tsukamoto takes us on is very similar in tone and content to that of Travis Bickle in Taxi Driver, the obsessive desire of a gun could be spliced into Scorcese's masterpiece unnoticed. But whereas Taxi Driver was entirely from Bickle's perspective, Tsukamoto has chosen to examine not just Goda's dismay, but also - the dismay of his attackers, and the lives they lead outside of this macho environment. It is this simple technique that makes Bullet Ballet all the more worthwhile, and emotionally stronger.

As with all his films, the theme of emasculation rears its head. For Goda, it is in the form of his attack, left to feel dejected - beaten by numbers and the intense sexual power struggle between him and Kirina Mano's nihilistic gang member. This emasculation begins a chain of events, that lead Goda deeper and deeper down the spiral, obsessed by the death of his girlfriend, the power of the gun, and his bruised and battered ego. But more than this, we see the emasculation of Goto who (as seen in Fight Club) toes the corporate company line, respects the code of conduct in the office, but acts out once the night begins.

It is his desperate need for outrageousness, danger and excitement in his daily life of conformity that leads to his place as a foot soldier of gang warfare. It is a clever device of Tsukamoto when Goto acts embarrassed when confronted by his gang members about his job, far from being ashamed of his violent criminal acts, it seems that this man is more ashamed of conforming to society.

Ultimately, Bullet Ballet is about starting over, it is a film about the need for total annihilation before a man or woman can truly make a fresh start. Surprisingly the film is relatively positive in it's message, as an embodiment of his message, Goda displays the need for consideration as an approach to solving the problem of violence in Japan. It seems that Tsukamoto is making reference to the superficial notions of male pride in a society of sexual degradation, while also telling the world, not just Japan - that the problems existing in our youth will not be solved through ignorance, or arrogance, but through care and consideration.

Bullet Ballet is a rough edged, masterpiece that re-instates Tsukamoto as one of the most important directors in Japan. Tough, uncompromising, and emotionally complex, Bullet Ballet - by my consideration - is Tsukamoto's most accomplished work.