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By Tom Mes

This version incorporates a new and extended color part, thoroughly up to date DVD info, and a number of other fresh stories of Takashi Miike movies that have been unavailable for assurance on the time of the book's preliminary creation.

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Extra info for Agitator: The Cinema of Takashi Miike

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The contrast in tone between Naniwa Wkybden and its immediate predecessor Daisan No Gokud6 is not unusual in the light of earlier films. It was not the first time that Miike made a drastic switch of genre, nor would it be the last. However, in all earlier cases such a contrast was an indication of the unevenness of the director’s work. This time, he changes direction and manages to maintain (and in fact improve) the quality of his work from one film to the next. With that and the film’s thematic weight, Naniwa ycikyaden marks the end o shi Miike’s formative years and heralds the next step in his development as an artist.

N contrast to all the films Miike had made before, Shinjuku Outlaw is based on a tightly red script, which handles its various characters and conflicting interests quite well. r the first time, Shinju/ru Outlaw is a film with a recognisable and consistent thematic nt. Yomi as a character is a continuation of Bodyguard Kiba’s Junpei and Oretachi Wa nahi Ja Nai’s J o : a m a n w h o h a s l o s t t o u c h w i t h h i s s u r r o u n d i n g s d u e t o a n e x t e n d e d prison sentence. Not only has he spent ten years in prison, he’s spent them in a coma, leavp, fng him completely detached from the world he wakes up in.

Covered in blood from head to toe, he only gives up the ghost after Shu has grabbed his hand in a gesture of reconciliation. The image of Shu wounded on the bed also opens Shinjuku Triad Society, accompanied by a voice-over in Mandarin, which tells us that this is a story about a love affair. What his voice-over does is make Wang and Shu the protagonists of the film, and turn Tatsuhito into a mere passer-by, a supporting character. This is emphasised by the voice-over that subsequently closes the film, which mentions in an almost off-hand way that Tatsuhito was killed in an alley not long after Wang’s death.

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Agitator: The Cinema of Takashi Miike by Tom Mes


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