HANA-BI (1996)
Directed by Takeshi Kitano
Starring: Takeshi Kitano, Ren Osugi, Susumu Terajima
Genre: Drama/Thriller
Running Time: 106mins

Rating:

Nishi is a troubled man. After taking time away from a stakeout to visit his dying wife leaves his partner paralysed, and another colleague fatally wounded by the suspect, he wanders through life unable to shrug off the immense feeling of guilt and responsibility. Borrowing money from the Yakuza, Nishi plans to provide for those affected by the shooting : the wheelchair bound partner, the widow, and finally - his own wife. Using the last of his money they go to Mount Fuji in one last search for happiness, however, the Yakuza (intent on reclaiming their money) are in tow

Without doubt Kitano's finest film to date, Hana-Bi surpasses almost all of Japanese cinema by its sheer depth and subtlety. Kitano's masterpiece is filled with fine performances, expertly framed shots, and a strongly emotional score (once again composed by the wonderful Joe Hisaishi). As with Kitano's earlier films (Sonatine, Boiling Point, and Violent Cop) the cold brutality of violence is present, however, in Hana-Bi (literally translated as Fireworks - however the two word combination of Hana "Flower" and Bi "Fire" is far more suited) the violence is infused with an unprecedented emotional core that evokes one of the most powerful experiences in cinema.

The title could easily be composed entirely upon Kitano's character, Nishi. The fire representing the cold brutality on display while interacting with the Yakuza, and the flower showing his delicate side as he comes to terms with providing the love and support his wife needs.

Although almost a silent performance, it is possibly Kitano's most rounded character to date (with the brief exception of Kikujiro). As Nishi, Kitano's subtle expressions and awkward body movements tell all : from the guilt wracked flashbacks, to the uncomfortable challenge of his expected masculinity while with his wife - the messages - all conveyed through physical presence are perfectly low key yet fundamentally informative.

And it is this factor that makes Hana-Bi such an incredible film. Why use a thousand words when you can show a painting? This idea is taken literally as Kitano uses artwork to suggest much more within the story, as paintings appear acting as a window to the soul of not just Ren Osugi's character, but also to play as important references to past and future moments of the film. The seamless transition between the live action and the stillness of his art is perfectly edited together.

*Incidentally, a well known fact for Hana-Bi is that Kitano personally painted the art collection that features prominently in the film.

As his partner, Ren Osugi delivers a fine performance while regular cohort Susumu Terajima provides the essential support to Kitano's troubled detective. Injecting the intensely emotional proceedings with an element of humour is Tetsu Watanabe's scrap yard owner Tesuka. The exchanges between Tesuka and his stoner daughter once more provide an insight into Kitano's comic stylings, the subtlety and placing of which are such that the humour never interferes with the emotional core of the film, it simply aids it.

Further mention must be made for Kayoko Kishimoto as Nishi's wife Miyuki. Her performance is a million miles away from the brash wife in Kikujiro, her muted performance evokes the most intimate of relationships - I guarantee that her only line in the film will be enough to make the most cynical of hearts moved.

Hana-Bi is an exceptional film that has all the hallmarks of a classic, a strong emotional story with a style entirely of its own. The best work Kitano has done, it received the prestigious Golden Bear award for best film at the Berlin film festival upon release. After seeing this film you will realise why, but also come to question why it didn't win a whole lot more.

Quite simply, a masterpiece.