SHARKSKIN MAN AND PEACH HIP GIRL (1998)
Directed by Katsuhito Ishii
Starring: Tadanobu Asano, Sie Kohinata, Susumu Terajima
Genre: Yakuza/Action
Running Time: 102mins

Rating:

On the run from the Yakuza, Samehada (Tadanobu Asano) is hounded by his disgraced protege and former colleagues for not only the money stolen but also his blood. Meanwhile, struggling to break free from the grips of a hotel manager (Michio), Toshiko runs away from her imprisoned life only to collide with Samehada. United by their need to escape, they find themselves the target of not only the Yakuza, but also of Yamada, a hitman employed by Michio intent on putting a stop to Toshiko and Samehada's escape

Katsuhito Ishii's debut film has been described as a Japanese cocktail of John Woo action and Tarantino street-smart; however, a far more appropriate description would involve the likes of David Lynch and Takeshi Kitano respectively. Based on the popular manga by Minetaro Mochizuki the style and tone of the film is clearly navigated by its comic book origins, yet it expertly combines elements from the aforementioned directors to create an irresistible surrealist mix.

The film is heavily character (or should I say caricature) led, providing some great comic moments from their sheer absurdity and somewhat skewed world. These moments best reflect the montage comedy of Kitano's films such as Getting Any? and Kids Return as humour is gathered from split second timing while the concept of the couple on the run being hounded by both Yakuza and Yamada harks back to the histrionic plot of Lynch's "Wild At Heart". Those seeking action set-pieces will surely be disappointed, this is a fun packed entertaining film which relies on sharp observations and surrealist humour rather than ballistic action and pop-reference dialogue.

For a debut film, Ishii displays a considerable amount of control for such a wildly frenetic film. While some could argue that the sheer vibrancy and absurdity of the characters helps to mask the need for realistic characterisation and plot development, you have to realize going into SSM&PHG that realism and cinematic conformity must go out the window.

The characters involved are as eccentric as you will ever see, from the "Kon-chan" obsessed, grammatically correct, knife wielding Yakuza Tanuki, to the inept, wildly perverse, una-browed amateur hitman Yamada (a stand-out comic performance from Tatsuya Gasyun) the wealth of imagination of Mochizuki's colourful characters effortlessly leaps off the page into Ishii's film supporting the somewhat clichéd storyline of a couple on the run. Ishii is all too aware of what is needed to make SSM&PHG work, and the credit sequence alone displays this understanding as each character is given their own equal running time to introduce themselves and their character with a series of flash cuts, animation and subliminals of the title-card.

Ishii is aware that in order for this rather claustrophobic thriller to achieve the maximum effect it has to play as an ensemble piece rather than as a star vehicle for Indie favourite Asano, and by playing the ensemble card, Ishii has succeeded.

While Asano continues to impress with each film excelling as the super-cool Samehada, it is the support provided by all concerned that carries the film along. In addition, kudos has to be given to the technical crew, particularly the cinematography and editing which perfectly compliments Ishii's continuing change in style and pace opting for the maniacal sped-up rapid editing of the chase sequences to the somber low lit, atmospheric moments between Samehada and Toshiko (and more impressive the Sawada and God sequence). If there is any complaint to be made it must be in the latter stages of the film in which some clumsy characterization fails to give the finale the spark the film has worked so hard to earn. This is mostly due to the character of Michio (Toshiko's antagonist) who is swamped by the excesses of the other characters. While in any other film his obsessive behaviour would stand-out, in Ishii's world however, it is nothing more than an expectancy which comes all too late.

Overall, Shark Skin Man and Peach Hip Girl delivers a rip-roaring ride that transcends the usual couple on the run scenario with some truly bizarre and wonderful creations. Whilst it is nowhere near the same league as the classics of eastern cinema that it references (we're talking Kitano here) it does deliver on the grounds of pure entertainment. And like Ryuhei Kitamura's Versus, that's exactly what it sets out to do.