Film devotees have long realized that the "new wave" art cinema of Japan in the 60's was as innovative and profound as the revolutionary American and European product of the era. What is now becoming clear to fans in the West inured to Godzilla and Starman is that the little-seen Japanese genre pictures of the time were in many cases just as startling and artistic. "Pale Flower" is a case in point. It has the breathtaking luminous-white on inky-black lighting, the fragmented framing, and massive potential energy threatening to explode from the edges of the screen that so characterize the contemporaneous films of Seijun Suzuki (of "Branded to Kill" fame). But instead of that director's post-modern excesses, this film takes a somber, meditative tack, not unlike Beat Takeshi's recent "Sonatine", presenting a carefully-wrought, moody character study amid the expected thrills. The musical score, when it surfaces, is suitably avant-garde, and the frame is filled with rich detail and well-defined characters, like the crime boss obsessed with his dental health. A must-see for the adventurous film buff.
24 Reviews
Beautiful Japanese Noir
Prof-Hieronymos-Grost18 April 2008
Yakuza, Muraki is released from prison after three years for stabbing and killing a member of a rival gang. He is shocked to find out that his bosses have since amalgamated with the rival gang to fight off the advances of another gang from Osaka which is muscling in on their patch. Muraki is addicted to gambling and soon finds himself back in illegal gambling dens, where he meets with the alluring and seemingly very rich Saeko, a young woman who is addicted to living fast and seeking new thrills to keep her entertained. Through his contacts he introduces her to bigger games where the crime bosses play for much bigger stakes. Shinoda was part of the "New Wave" of Japanese film-makers that were frowned upon in many circles, not least by the Shochiko studio, generally a family orientated studio made famous by Ozu. To make matters worse the author Masaru Baba was less than impressed by the directors visual flair, (a flair that has been compared to that of Jean Pierre Melville and the French New Wave). He believed the visuals clouded his story, as a result the film was banned in Japan due to its over elaborations on illegal gambling. This quickly led Shinoda to the opinion that making films independently was the only way to go in the future, as even Tôru Takemitsu's superb score was frowned upon in Japan. Shinoda's visuals are exceptional and evoke memories of Noir Classics of the past, with all the staples catered for, rain drenched neon lit streets, chiaroscuro lighting, jaunty camera angles, our hero, cigarette on his lip wandering through the night with his lady of dubious past and intentions. As Muraki's affections grow for his new found platonic playmate, it would also seem to mirror the demise of his affections for all things Yakuza, he is a world weary man, an intelligent man, certainly more so than anyone in his own circles, he realises his own merits and deficiencies and comes to the conclusion he could have done better with life. Even Muraki's long time girlfriend who loves him dearly, wants to move on, Muraki is powerless to hold on to her as his infatuation grows, to the point where he is having lucid nightmares concerning Saeko. Pale Flower is not all doom and gloom though, there are respites of wryly dark humour, usually found in the mundane day to day workings of the Yakuza. Pale Flower is an astonishingly rich and layered character study that will keep even those with an aversion to subtitles entertained.
The king of super-cool
jameselliot-19 May 2009
Ryo Ikebe is perfect as the super-cool, sharply dressed ex-con who willingly seals his own fate despite his obvious intelligence and powers of perception. His body language is crisp and economical and his life experience is etched into his face. He is the Japanese doppleganger of the under-appreciated (except by Tarrantino) American actor Robert Forster. This is actually worthy of a remake starring Forster but I heavily doubt if any filmmaker can recreate the style and panache that Mr. Shinoda injected into every shot of the astonishing cinematography. In an interview on the DVD extra, he says that nihilism was his main theme but it's a quiet, shadow-covered nihilism, not explosive and bombastic. There are very few scenes of violence; action is not the show here. The heart of the film is the undefinable relationship between the adrenaline-loving rich girl and the yakuza hit man. Shinoda likens his position in life as the embodiment of post-war Japan caught between the Soviet Union and the USA. The climactic hit is brilliantly choreographed, shot and scored. Certain elements of Pale Flower evoked memories of The Face of Another, a totally different type of film that also explored the existential subjects of solitude, isolation and alienation.
Japanese Film Noir
jgcole29 November 2010
Upon his release from prison for killing a rival mobster, Muraki strolls the streets of Tokyo and muses that nothing has changed in three years and that people are little more than half dead stupid animals whose lives are meaningless. In voice-over he asks "What was so wrong with killing one of them?" While he was away the two Tokyo gangs have reached a truce in order to eliminate a third gang from Osaka. Muraki is unsure of his role in the new alliance and places little value in the yakuza (gangster) code. He is a lone wolf who, while a dependable team player, is a risk taker who takes action on his own and finds consolation from his weary existence in the Tokyo nights and its' gambling dens.
Saeko is a well dressed, beautiful young woman with lots of cash and, like Muraki, is a creature of the night. They meet at a card game where Saeko recklessly wagers, loses and wants more. A woman in such a place is an oddity and all the players are fascinated by her, including Muraki. When she asks Muraki if he knows of a game where the stakes are higher he knows that he has found what he was looking for. The two are immediately drawn to one another and their fates are sealed. Together they combat the boredom of life with high stakes gambling, high speed joy rides (she drives) and other thrills that come with living on the edge. They agree that whatever they do, they can forgive themselves. "I have no use for the dawn. I adore these evil nights," says Saeko. A truer noir couple there never was. But when Saeko becomes drawn to another mid level yakuza – the half-Chinese junkie Yoh - Muraki feels a sense of loss. To win her back he asks Saeko if she wants to watch him as he assassinates the head of the Osaka syndicate. She cannot say no and he knows it.
While it is not a typical yakuza film as there is little bloodshed and killing, it is a gritty portrait of yakuza life: gambling dens, night clubs, racetracks and doing things they have to do and feeling good about it. It is their life and it is unquestioned. It is this that the film is really about: fate and the impending doom that hangs over all of the characters. It reflects the end of the old Japanese tradition of honor and obedience to a patriarchal system that was in disarray after their defeat in WWII and the occupation that followed. The American film noir existentialism and stunning expressionist photography in monochrome Cinemascope create a film experience that is the equal of anything that came out of Europe and the U.S. Even the card game scenes, a game called hana fuda with a deck that has twelve suits all named after flowers, have an intensity that is very noir. There is also a bizarre dream sequence that adds to the stylized strangeness of the film as does the avant garde soundtrack by Toru Takemitsu. The strange and confusing percussion and brass of Takemitsu's score somehow seems in perfect sync with what we are seeing on the screen. This is a complete film experience.
Saeko is a well dressed, beautiful young woman with lots of cash and, like Muraki, is a creature of the night. They meet at a card game where Saeko recklessly wagers, loses and wants more. A woman in such a place is an oddity and all the players are fascinated by her, including Muraki. When she asks Muraki if he knows of a game where the stakes are higher he knows that he has found what he was looking for. The two are immediately drawn to one another and their fates are sealed. Together they combat the boredom of life with high stakes gambling, high speed joy rides (she drives) and other thrills that come with living on the edge. They agree that whatever they do, they can forgive themselves. "I have no use for the dawn. I adore these evil nights," says Saeko. A truer noir couple there never was. But when Saeko becomes drawn to another mid level yakuza – the half-Chinese junkie Yoh - Muraki feels a sense of loss. To win her back he asks Saeko if she wants to watch him as he assassinates the head of the Osaka syndicate. She cannot say no and he knows it.
While it is not a typical yakuza film as there is little bloodshed and killing, it is a gritty portrait of yakuza life: gambling dens, night clubs, racetracks and doing things they have to do and feeling good about it. It is their life and it is unquestioned. It is this that the film is really about: fate and the impending doom that hangs over all of the characters. It reflects the end of the old Japanese tradition of honor and obedience to a patriarchal system that was in disarray after their defeat in WWII and the occupation that followed. The American film noir existentialism and stunning expressionist photography in monochrome Cinemascope create a film experience that is the equal of anything that came out of Europe and the U.S. Even the card game scenes, a game called hana fuda with a deck that has twelve suits all named after flowers, have an intensity that is very noir. There is also a bizarre dream sequence that adds to the stylized strangeness of the film as does the avant garde soundtrack by Toru Takemitsu. The strange and confusing percussion and brass of Takemitsu's score somehow seems in perfect sync with what we are seeing on the screen. This is a complete film experience.
Pale Flower (1964)
mevmijaumau26 June 2015
Masahiro Shinoda's dark yakuza neo-noir film Pale Flower (or Dry Flower) was based on Shintaro Ishihara's novel and got shelved by the studio for nine months after it was made. Not only was the screenwriter Masaru Baba complaining that Shinoda focused too much on the visuals and too little on the dialogues, but apparently studio executives didn't like the idea of a movie going so much in detail of gambling in mob circuits.
The film stars Ryo Ikebe as Muraki, a stone-faced precursor to Takeshi Kitano's enigmatic yakuza characters, and Mariko Kaga, one of the jewels of '60s Japanese cinema, as Saeko, a bored lady seeking thrills, on a self-destructive path. They're pretty much the only two characters in the story that truly matter, aside from a mysterious dope-addicted mobster Yoh who proves to be a bad influence for Saeko as he destroys her and Muraki's platonic relationship without ever uttering a single word in the film. Muraki tries to win Saeko over by offering her quick adrenaline rushes, but Yoh effortlessly outdoes him each time, first by heroin, and then by something much more sinister... Needles and knives are famously exhibited as phallic objects in the movie.
Blessed with the dissonant score by Toru Takemitsu, who mixes non- diagetic sounds with the wooden cards clicking and clacking against each other in the gambling den, and painted in wonderful, all-encompassing black tones, Shinoda's movie may annoy some viewers with its slow pace, but it's ultimately worth it. Shinoda was inspired by Baudelaire's The Flowers of Evil while working on the film, and indeed, the theme of a dark world semi-illuminated by an unreachable ideal of beauty is what links the two works together.
The film stars Ryo Ikebe as Muraki, a stone-faced precursor to Takeshi Kitano's enigmatic yakuza characters, and Mariko Kaga, one of the jewels of '60s Japanese cinema, as Saeko, a bored lady seeking thrills, on a self-destructive path. They're pretty much the only two characters in the story that truly matter, aside from a mysterious dope-addicted mobster Yoh who proves to be a bad influence for Saeko as he destroys her and Muraki's platonic relationship without ever uttering a single word in the film. Muraki tries to win Saeko over by offering her quick adrenaline rushes, but Yoh effortlessly outdoes him each time, first by heroin, and then by something much more sinister... Needles and knives are famously exhibited as phallic objects in the movie.
Blessed with the dissonant score by Toru Takemitsu, who mixes non- diagetic sounds with the wooden cards clicking and clacking against each other in the gambling den, and painted in wonderful, all-encompassing black tones, Shinoda's movie may annoy some viewers with its slow pace, but it's ultimately worth it. Shinoda was inspired by Baudelaire's The Flowers of Evil while working on the film, and indeed, the theme of a dark world semi-illuminated by an unreachable ideal of beauty is what links the two works together.
cool as ice, but also on fire too...
Quinoa198431 August 2012
There was never a moment in the first two thirds (or three quarters, whatever the stretch of time) where I had any dislike for Pale Flower, far from it, I was entranced and involved in this world of back-room gambling parlors in Japan where men put down money they know more than likely they'll lose. But there was a moment at that point I mention where I fell in love with the film: our resident anti-hero Muraki (an incredible-if-only-for-his-presence Ryo Ikebe) is having a dream, only it's a fever dream, or a nightmare, or one of those, involving a girl, Saeko (the oddly pretty Mariko Kaga) who he is infatuated with (but doesn't really love exactly, it's hard to point what it is) and a strange half-Chinese drug-peddler, Yoh (a man who doesn't have a line in the whole film, far as I can tell, aside from possibly some creepy-stalking singing, which I'll get to later). The way the director Masahiro Shinoda has Muraki framed is out of the classic nightmare-scenarios - stuck in slow-motion, dark corridors and shadows where he peers in on the characters that stick in his mind in an inverse tint, and he can't take it.
I went back and watched just that scene twice, just to see how Shinoda framed those shots, where he and his DP chose to pull back with the camera. Throughout the film he and his cameraman have an intelligence to their noirish drama, even in the gambling scenes (which, frankly, I still don't totally understand, though this shouldn't be an issue for Japanese audiences so I let it slide), and it culminates with this dream scene. What made it stand out was that the filmmakers tried to not let us in TOO much into this Muraki, and hey, why not? He's an ex-con with three years in the pen for a murder that he is not sure why he did - or rather, he says it was a simple "him or me" survival thing, and doesn't dwell on it much - and drifts from one place to the next. Saeko does give him some sort of lift or interest in the game of gambling they go for, even as Saeko isn't good at it and has a kind of frightening need to have a RUSH for excitement. When they start to drive past 100 (or SHE does I should note) with another car in the middle of the night, there's little explanation, and less so for why she finds this hysterically funny when they're done.
But this dream does give us a small window into this man's twisted but empathetic soul. He does want things, or has things he doesn't want, which is this girl he has some care for to not end up with a man who, at one point, stalks him down an empty street at night as if a sinister cat (or a young Harry Lime) was prowling the streets. The plot, as much as it is in the film, doesn't fully kick into gear until the third act anyway as the truce between Yakuza gangs is split by a murder that needs avenging, which, as a sort of self-imposed fate by Muraki would have it, goes where you think it will. The real focus and power and entertainment in Pale Flower is how Shinoda looks at these characters, the rough side that Muraki has just embedded in him, and what humanity (if any) is left in him. This is hard-boiled, existential noir with some experimental beats; it doesn't go quite as far as Branded to Kill, for example, but coming a few years before it is groundbreaking in its small ways.
It feels hyper-realistic in an exciting way: a sudden attack at a bowling alley is shocking for how it just seems to be part of the way of things at a bowling alley with a high-profile yakuza like Muraki (more to do with how its shot, that it's one long shot this happens in before the angle finally changes as the assassin is taken away - this too has a twist with the young upstart looking up to Muraki, but this is a supporting story). This is about a man who resides in the shadows since its what he knows best, and is not a total shut-out from his bosses, but is so cold as to seem to more 'normal' gangsters as impenetrable. Indeed it speaks to what Shinoda was going for that he cast Ikebe, who wasn't keen on learning a ton of lines, for his walk(!) Add to that a helluva dame in Saeko with a 'big' performance by Kaga mostly in her eyes, and the strange not-quite-but-yes adversary of Fujiki's Yoh, and you got a gritty noir that has the daring to not just be a B-thriller. Look no further than the climax, which aspires to operatic heights long before HK thriller went for all that jazz, and you get the idea.
To put it another way, this is like what I'd imagine, if he saw it, one of a handful of films the author Donald Westlake would be jealous he didn't get to write.
I went back and watched just that scene twice, just to see how Shinoda framed those shots, where he and his DP chose to pull back with the camera. Throughout the film he and his cameraman have an intelligence to their noirish drama, even in the gambling scenes (which, frankly, I still don't totally understand, though this shouldn't be an issue for Japanese audiences so I let it slide), and it culminates with this dream scene. What made it stand out was that the filmmakers tried to not let us in TOO much into this Muraki, and hey, why not? He's an ex-con with three years in the pen for a murder that he is not sure why he did - or rather, he says it was a simple "him or me" survival thing, and doesn't dwell on it much - and drifts from one place to the next. Saeko does give him some sort of lift or interest in the game of gambling they go for, even as Saeko isn't good at it and has a kind of frightening need to have a RUSH for excitement. When they start to drive past 100 (or SHE does I should note) with another car in the middle of the night, there's little explanation, and less so for why she finds this hysterically funny when they're done.
But this dream does give us a small window into this man's twisted but empathetic soul. He does want things, or has things he doesn't want, which is this girl he has some care for to not end up with a man who, at one point, stalks him down an empty street at night as if a sinister cat (or a young Harry Lime) was prowling the streets. The plot, as much as it is in the film, doesn't fully kick into gear until the third act anyway as the truce between Yakuza gangs is split by a murder that needs avenging, which, as a sort of self-imposed fate by Muraki would have it, goes where you think it will. The real focus and power and entertainment in Pale Flower is how Shinoda looks at these characters, the rough side that Muraki has just embedded in him, and what humanity (if any) is left in him. This is hard-boiled, existential noir with some experimental beats; it doesn't go quite as far as Branded to Kill, for example, but coming a few years before it is groundbreaking in its small ways.
It feels hyper-realistic in an exciting way: a sudden attack at a bowling alley is shocking for how it just seems to be part of the way of things at a bowling alley with a high-profile yakuza like Muraki (more to do with how its shot, that it's one long shot this happens in before the angle finally changes as the assassin is taken away - this too has a twist with the young upstart looking up to Muraki, but this is a supporting story). This is about a man who resides in the shadows since its what he knows best, and is not a total shut-out from his bosses, but is so cold as to seem to more 'normal' gangsters as impenetrable. Indeed it speaks to what Shinoda was going for that he cast Ikebe, who wasn't keen on learning a ton of lines, for his walk(!) Add to that a helluva dame in Saeko with a 'big' performance by Kaga mostly in her eyes, and the strange not-quite-but-yes adversary of Fujiki's Yoh, and you got a gritty noir that has the daring to not just be a B-thriller. Look no further than the climax, which aspires to operatic heights long before HK thriller went for all that jazz, and you get the idea.
To put it another way, this is like what I'd imagine, if he saw it, one of a handful of films the author Donald Westlake would be jealous he didn't get to write.
Progressively Diminished Excitement.
net_orders25 September 2016
Warning: Spoilers
Viewed on Streaming. Cinematography/lighting = eight (8); stars; score = seven (7) stars. Director Masahiro Shinoda demonstrates his complete mastery of all components of the film medium and proceeds to demonstrate the loss of his creative talents (and mastery) in the same movie! He delivers a binary film consisting of two acts. Act One (roughly the first half of the movie) is taunt with fresh, edgy suspense and excitement as well as excellent direction. Act Two becomes perfunctory; surprisingly, it fails to build on the momentum Shinoda has heretofore created. Much of this disappointment is due to diminished "directorial energy," excessive repetition, and repeated telegraphing of how the movie will end. The plot is centered on a high-priced daytime hooker with a death wish she demonstrates by her nocturnal activities (including careless high-stakes gambling in dangerous (all-male) gangster environments, high-speed auto racing on city streets, and a growing interest in narcotics). The day-to-day machinations of low-to-mid level Yakuza gangs provide a backdrop with card gambling activities vividly (and repeatedly) portrayed, prostitution (of course), and the occasional murder of a rival gang member. Line deliveries are riddled with clues (i.e., telegraphing) as to how this story will end. Act Two also includes a dream sequence which only serves to underline what will eventually happen (and seems to have been inserted for audience members who are really, really slow on the uptake!). Talented character actors provide the major element of menace elicited by the film. They do not over act (which makes them truly scary!), and have been cast for their appearance and ability to act tough and intimidating---they really do look like gangsters are "supposed" to look like! (People you would not want to meet in a dark alley at night Da Yo!) Subtitles seem close enough to line deliveries (which are spoken in Kansai-Ben). But the use of off-white (instead of colored) text in a black and white film makes for an unnecessary irritant especially when superimposed over Japanese in the opening credits! Film score initially comes across as an orchestra tuning up prior to a performance. But the music soon becomes an integral component used by the Director to add excitement. Cinematography (wide screen, black and white) and lighting (especially of night scenes) are excellent and amplify the feeling of foreboding the film exudes (which is greatest in Act One). Restoration is fine. Highly recommended. WILLIAM FLANIGAN, PhD.
Lean, dark, and atmospheric
gbill-748777 February 2020
If you like your film noir lean and atmospheric, this is probably for you. It also has elements of yakuza, sun tribe, and existentialism, and so seems to blend genres, but at the same time, it's completely focused. The cinematography is wonderful - the scenes at night driving, the stares from across the gambling table, and narrow streets all come to mind - and the audio is too, with a great mix of loud cacophony and scenes so quiet you could hear a pin drop. A murder to the sound of an opera aria is pretty cool, and seems like it must have influenced other directors. The film also benefits from a magnetic couple of actors in the lead roles, Ryo Ikebe and Mariko Kaga. His detached persona fits a remorseless killer perfectly, just as her enigmatic look fits her character's recklessness.
What's haunting about the film is that both characters are so bored with life that they turn dispassionately to crime and gambling. At the outset of the film he's just gotten out of jail for killing a rival gang member, and while looking at people in crowded Tokyo, says "What are they living for? Their faces are lifeless, dead. They're desperately pretending to be alive." As for the murder he committed, "slaughtering one of these dumb beasts," as he puts it, he says "It's a strange feeling. Somebody died, but nothing has changed." As for her character, named Saeko (a homonym for Psycho, surely not accidentally) she needs to raise the stakes on her obsessive gambling to feel anything, dabbles in drugs for the same reason, and says in a wonderful moment "I wish the sun would never rise. I love these wicked nights." The two are so striking and cool, and yet it's as if they're nearly dead within, empty and in need of something positive to live for. Weirdly, though the two seem attracted to each other, when they end up in bed together while hiding during a police raid, they choose to talk about the flower card game rather than make love.
There is something about these sentiments in a post-war Japan still searching for itself, and a director like Masahiro Shinoda trying to usher in the New Wave, that's powerful. It may rate even higher with a film connoisseurs for just how clean it is, but it left me wishing there had been a little more plot development. Still a very good film though, and one that may be better on a second watch.
What's haunting about the film is that both characters are so bored with life that they turn dispassionately to crime and gambling. At the outset of the film he's just gotten out of jail for killing a rival gang member, and while looking at people in crowded Tokyo, says "What are they living for? Their faces are lifeless, dead. They're desperately pretending to be alive." As for the murder he committed, "slaughtering one of these dumb beasts," as he puts it, he says "It's a strange feeling. Somebody died, but nothing has changed." As for her character, named Saeko (a homonym for Psycho, surely not accidentally) she needs to raise the stakes on her obsessive gambling to feel anything, dabbles in drugs for the same reason, and says in a wonderful moment "I wish the sun would never rise. I love these wicked nights." The two are so striking and cool, and yet it's as if they're nearly dead within, empty and in need of something positive to live for. Weirdly, though the two seem attracted to each other, when they end up in bed together while hiding during a police raid, they choose to talk about the flower card game rather than make love.
There is something about these sentiments in a post-war Japan still searching for itself, and a director like Masahiro Shinoda trying to usher in the New Wave, that's powerful. It may rate even higher with a film connoisseurs for just how clean it is, but it left me wishing there had been a little more plot development. Still a very good film though, and one that may be better on a second watch.
Ice-cool, exciting, and palpably atmospheric
themadmovieman5 January 2019
With a sleek and crystal-cool vibe throughout, Pale Flower is a brilliantly atmospheric watch, proving an immersive and engrossing look into the dark underworld of the yakuza, all the while featuring powerfully striking directing, two excellent lead performances, and an intriguing story that, while not quite as emotionally hard-hitting as intended, keeps you well on the edge of your seat.
First off, the thing that cannot be ignored about Pale Flower is its palpable atmosphere that combines the sleek, cool personas of the gangster world, with a dark grittiness that lends strong depth and stakes to the film. As a result, the movie is both hugely entertaining, as well as a powerfully atmospheric piece that's difficult to take your eyes away from.
Using striking cinematography that's full of sharp light-and-dark contrasts, the movie really pops on screen, and when combined with that ice-cool persona that makes it all so memorable, the film's real character is borne out. Rather than being a simple gangster movie that takes a dark look at the violence and power plays of the underworld, the film has an immense likability to it that sets it apart from so many others in the genre.
As well as coming from the sleek atmosphere and striking cinematography, that likability and entertainment value comes signficantly from the two lead performances from Ryô Ikebe and Mariko Kaga. Playing characters that are entirely embroiled in a world of violence and crime, the film sees the duo as far more honest personalities, and that's portrayed brilliantly by the two lead actors.
Ikebe's performance is the coolest thing about the whole movie, with a serene assuredness that's on a par with the likes of Marcello Mastroianni, giving his character an undeniable suave charm, something that's only furthered by his relationship with Mariko Kaga, whose performance is also excellent, brilliantly playing off Ikebe in a playful and often flirtatious fashion, all the while marooning with enough mystery and ambiguity to make her character absolutely riveting to follow throughout.
When it comes to the darker side of things, director Masahiro Shinoda steps in with some fantastic work throughout, not only giving an intriguing insight into the yakuza underworld, but also stunning with some palpably tense and exciting moments.
While the movie's focus on the shifting balance of power on the gang's turf is interesting, the film's most memorable set-pieces are the various gambling sequences, as we see Mariko Kaga's character surprise all her male competitors with her presence at the table, while the increasingly high-stakes nature of the games allows for some genuinely intense moments, offering up more excitement than any of the crime action throughout, and further cementing the film's ice cool identity with a series steely and suspenseful games.
As a result, there's no denying that Pale Flower is a seriously cool and powerfully atmospheric watch, but the one area in which it unfortunately falls down is its emotional depth.
The story focuses on Ikebe's seasoned gangster taking care of a young woman who has become so deeply embroiled in gambling in the underworld, and while there is action and crime drama to boot, the core of the film's story is the relationship between those two.
Now, while the pair have good chemistry throughout, I felt there was a certain tenderness that was really missing from the film, because as well as seeing Ikebe taking care of Kaga, the story focuses on his own inner emotional turmoil, reevaluating his place in the world he has been a part of for so long, all the while judging his long-term loyalties and this new relationship.
However, while there is a lot of depth to the story, it's overshadowed by the movie's more striking atmosphere, and doesn't give enough of an opportunity for you to step back and delve into our main man's inner psyche, which was a point of real frustrationg for me, as the movie never proves quite as deeply enthralling as should have been the case.
Overall, though, I was very impressed by Pale Flower. Above all, it's a sleek and ice cool gangster movie with a palpable atmosphere of both suave characters and dark grit, featuring excellent directing and cinematography throughout, as well as two fantastic lead performances, and although the story doesn't quite fulfil its potential, failing to provide strong emotional depth throughout, it's an engrossing and entertaining watch.
First off, the thing that cannot be ignored about Pale Flower is its palpable atmosphere that combines the sleek, cool personas of the gangster world, with a dark grittiness that lends strong depth and stakes to the film. As a result, the movie is both hugely entertaining, as well as a powerfully atmospheric piece that's difficult to take your eyes away from.
Using striking cinematography that's full of sharp light-and-dark contrasts, the movie really pops on screen, and when combined with that ice-cool persona that makes it all so memorable, the film's real character is borne out. Rather than being a simple gangster movie that takes a dark look at the violence and power plays of the underworld, the film has an immense likability to it that sets it apart from so many others in the genre.
As well as coming from the sleek atmosphere and striking cinematography, that likability and entertainment value comes signficantly from the two lead performances from Ryô Ikebe and Mariko Kaga. Playing characters that are entirely embroiled in a world of violence and crime, the film sees the duo as far more honest personalities, and that's portrayed brilliantly by the two lead actors.
Ikebe's performance is the coolest thing about the whole movie, with a serene assuredness that's on a par with the likes of Marcello Mastroianni, giving his character an undeniable suave charm, something that's only furthered by his relationship with Mariko Kaga, whose performance is also excellent, brilliantly playing off Ikebe in a playful and often flirtatious fashion, all the while marooning with enough mystery and ambiguity to make her character absolutely riveting to follow throughout.
When it comes to the darker side of things, director Masahiro Shinoda steps in with some fantastic work throughout, not only giving an intriguing insight into the yakuza underworld, but also stunning with some palpably tense and exciting moments.
While the movie's focus on the shifting balance of power on the gang's turf is interesting, the film's most memorable set-pieces are the various gambling sequences, as we see Mariko Kaga's character surprise all her male competitors with her presence at the table, while the increasingly high-stakes nature of the games allows for some genuinely intense moments, offering up more excitement than any of the crime action throughout, and further cementing the film's ice cool identity with a series steely and suspenseful games.
As a result, there's no denying that Pale Flower is a seriously cool and powerfully atmospheric watch, but the one area in which it unfortunately falls down is its emotional depth.
The story focuses on Ikebe's seasoned gangster taking care of a young woman who has become so deeply embroiled in gambling in the underworld, and while there is action and crime drama to boot, the core of the film's story is the relationship between those two.
Now, while the pair have good chemistry throughout, I felt there was a certain tenderness that was really missing from the film, because as well as seeing Ikebe taking care of Kaga, the story focuses on his own inner emotional turmoil, reevaluating his place in the world he has been a part of for so long, all the while judging his long-term loyalties and this new relationship.
However, while there is a lot of depth to the story, it's overshadowed by the movie's more striking atmosphere, and doesn't give enough of an opportunity for you to step back and delve into our main man's inner psyche, which was a point of real frustrationg for me, as the movie never proves quite as deeply enthralling as should have been the case.
Overall, though, I was very impressed by Pale Flower. Above all, it's a sleek and ice cool gangster movie with a palpable atmosphere of both suave characters and dark grit, featuring excellent directing and cinematography throughout, as well as two fantastic lead performances, and although the story doesn't quite fulfil its potential, failing to provide strong emotional depth throughout, it's an engrossing and entertaining watch.
Different type of yakuza movie
evilhinata19 January 2005
Most of the Asian gangster movies I have seen, promote the brotherhood and the comradery between members, like Young and Dangerous, or have denounced gangster activity, showing if as degrading and evil. This movie does neither. It instead shows how gangster life has both good and bad; however in the end proves to be a pointless cause. The main character, is just released from jail, and immediately reunites with his own yakuza. His life is changed when he meets Saeko, a young woman who is addicted to high stakes life of the yakuza. Together they journey through a city and time, where everything is changing constantly; yet in the end, it becomes apparent that none of these things really matter. This movie is really good. I recommend it.
Gangster With a Woman's Influence
gavin69422 July 2016
A gangster (Ryo Ikebe) gets released from prison and has to cope with the recent shifts of power between the gangs, while taking care of a thrill-seeking young woman (Mariko Kaga), who got in bad company while gambling.
Director Shinoda was influenced by Charles Baudelaire's poetry collection "Les Fleurs du mal" while making the film, an unusual source of input for a film. Shinoda chose the subject of yakuza as he felt the yakuza world is the only place where a Japanese ceremonial structure is sustained.
Recently (the first half of 2016) I have seen several Japanese gangster films thanks to Arrow Video and their release of "Gangster VIP" and various other Nikkatsu treasures. This film, from Criterion, is different. A bit darker, perhaps. But most interestingly, it has a very active role for a young woman, being not just a love interest but actually driving the plot. That strikes me as being uncommon, maybe even rare.
Director Shinoda was influenced by Charles Baudelaire's poetry collection "Les Fleurs du mal" while making the film, an unusual source of input for a film. Shinoda chose the subject of yakuza as he felt the yakuza world is the only place where a Japanese ceremonial structure is sustained.
Recently (the first half of 2016) I have seen several Japanese gangster films thanks to Arrow Video and their release of "Gangster VIP" and various other Nikkatsu treasures. This film, from Criterion, is different. A bit darker, perhaps. But most interestingly, it has a very active role for a young woman, being not just a love interest but actually driving the plot. That strikes me as being uncommon, maybe even rare.
Great film!
jacksrevenge20008 February 2005
'Pale Flower' is a film that once again adds to the already rich archive of Japanese cinema. Shinoda (writer/director) put together a very impressive film, so smart and tightly constructed. His use of the camera and lighting to create the dark street world he was portraying was beautiful. Although limited by technology of that time, Shinoda was able to use what he had very well. When we think of film noir or gangster style films, a lot of cliché's come to mind, murder, loyalty, power, drugs, sex, etc. Shinoda takes all of these and wraps it into a detailed story that becomes representative of Japan and the political backdrop of the Cold War. Of course, the film was banned by the censor board. Filmmakers like Shinoda were a part of the 'New Wave' in Japan and 'Pale Flower' remains, like so many great films, timeless. Anyone who appreciates Japanese cinema must see this film!
Unbelievably boring
drjgardner26 March 2020
I tried to watch it because I am a fan of film noir and of Japanese films. AS film noir, this film fails miserably. As a film it fails miserably. It is tedious, with long periods of nothing much happening. The elements are there, but the director is too hung up with something that I can't really explain, except it is boring. How long must the car race go with almost no real action? How many times must we watch people shuffler their cards? Just awful.
Fascinating Japanese yakuza-noir
jamesrupert201426 April 2020
Just released from jail, gangster Muraki (Ryo Ikebe) gets involved with thrill-seeking 'deb' Saeko (Mariko Kaga) as a yakuza turf war heats up. The stark black and white cinematography is striking, the score great and the two lead characters, the older, tired-looking Muraki and the young, pretty and self-destructive Saeko are excellent. Director Masahiro Shinoda's depiction of Tokyo gangster life is very mundane, as nondescript, middle-aged bosses play cards, worry about pregnant wives, and bring melons to share at meetings to plan murders. Despite the lengthy, cryptic (at least to me) Tehonbiki scenes, the story remains compelling to its cold, amoral end. Excellent, moody, nihilistic yakuza-eiga.
Subverts the gangster genre at every turn
tomgillespie20027 February 2015
Masahiro Shinoda's Pale Flower, like many products of the Japanese New Wave movement, is an immaculate mixture of the old and the new. Having studied under Ozu, Shinoda frames the film beautifully, taking influence from American film noir and the French New Wave to tell a story of ageing mobster Muraki (Ryo Ikebe) who is fresh out of prison. However, this is no straight-forward yakuza movie, and the film's loose plot and broodingly charismatic anti-hero are used at every turn to subvert the genre.
Having served his time for murder and winning the respect of his peers for keeping his mouth shut, Muraki drifts back into the life he once knew. It's a world of excessive gambling, and it's whilst partaking in an unfathomable game involving black chips that he meets the mysterious Saeko (Mariko Kaga), a beautiful girl with an unhealthy thirst for excitement. He is told that she comes every night and loses all of her money, only to come back the next day for more. Muraki is instantly drawn to her, and the two embark on an equally destructive, but not physical, relationship.
With his sharp suits, handsome face, perfect hair and nigh-on permanent black sunglasses, Muraki is the epitome of New Wave cool. But Pale Flower is a more than just an exercise in style. Like Alain Delon's character in Jean-Pierre Melville's Le Samourai, Muraki is a creature of violence stuck in an existential void. Loyal to his yakuza boss for seemingly no other reason than habit, he is constantly restless and bored. Saeko fiercely sparks his interest; as she embarks in a high speed car race with a man she's never met just for the thrill, Muraki watches her, hypnotised and confused.
Though we see her laugh orgasmically at the cheap thrills life can offer and talk about her desire to try heroin, there is little revealed about Saeko's inner thoughts and background. Muraki is drawn to her perhaps because she shares his disconnection with the structure of modern life, a common theme in the Japanese New Wave. Though the film is, for the most part, moody and intense, shrouded in shadows and cigarette smoke, Shinoda doesn't neglect to include some black humour. A running joke involving a severed fingers adds a nihilistic quality to the film, leading to a bleak ending that is powerfully fitting.
www.the-wrath-of-blog.blogspot.com
Having served his time for murder and winning the respect of his peers for keeping his mouth shut, Muraki drifts back into the life he once knew. It's a world of excessive gambling, and it's whilst partaking in an unfathomable game involving black chips that he meets the mysterious Saeko (Mariko Kaga), a beautiful girl with an unhealthy thirst for excitement. He is told that she comes every night and loses all of her money, only to come back the next day for more. Muraki is instantly drawn to her, and the two embark on an equally destructive, but not physical, relationship.
With his sharp suits, handsome face, perfect hair and nigh-on permanent black sunglasses, Muraki is the epitome of New Wave cool. But Pale Flower is a more than just an exercise in style. Like Alain Delon's character in Jean-Pierre Melville's Le Samourai, Muraki is a creature of violence stuck in an existential void. Loyal to his yakuza boss for seemingly no other reason than habit, he is constantly restless and bored. Saeko fiercely sparks his interest; as she embarks in a high speed car race with a man she's never met just for the thrill, Muraki watches her, hypnotised and confused.
Though we see her laugh orgasmically at the cheap thrills life can offer and talk about her desire to try heroin, there is little revealed about Saeko's inner thoughts and background. Muraki is drawn to her perhaps because she shares his disconnection with the structure of modern life, a common theme in the Japanese New Wave. Though the film is, for the most part, moody and intense, shrouded in shadows and cigarette smoke, Shinoda doesn't neglect to include some black humour. A running joke involving a severed fingers adds a nihilistic quality to the film, leading to a bleak ending that is powerfully fitting.
www.the-wrath-of-blog.blogspot.com
A true Gangster movie
rocket_655 April 2020
The Director does an excellent job of putting me in the film , by that I mean with the sights and sounds of the movie, it feels like Im in there as a passive bystander watching this unfold. A lot is said without ever being spoken in this movie , one of my favorites ..
Japanese night noir
happytrigger-64-3905177 January 2019
Just for the young Mariko Kaga aged 21, Pale Flower is a must. She's playing a very complex character, her lovely face is half juvenile, half wild and sexy. She teams with a handsome yakusa much older than her, the cool Ryo Ikebe, very quiet and well-dressed. Eveything is perfect in this slow paced and atmospheric film noir, black and white cinematography, music, and a special mention to editing with so many spying glances.
Japanese film adaptation of "On the Road"
Akahige30 April 2004
Whereas "Blue Velvet" is about the lengths that people go to for sexual gratification, "Pale Flower" is about that lengths that people go to for a few "kicks," kind of like a Japanese gangster adaptation of Kerouac's "On the Road."
Upon attempting to release "Pale Flower," the studio's censor banned the film, and this fact says quite a bit about the temperature of Post-War Japan's pop culture, and the target audience of this film. While the director claims the film is about Japan's uncertain stance in the Cold War, it may be more accurate to say that the film is about Shinoda's Nihilistic stance towards Japan's relationship to the world's superpowers.
And while nihilism describes Shinoda, existentialism may better describe Muraki and Saeko. Gambling, animalistic sex, drugs, all in an effort to just feel something, anything, and to get lost in the moments those emotions provide. Some would say that the gambling scenes are too long and do little to advance the plot, but this movie's script is made up mostly of unspoken dialogue and it is during the gambling scenes that the main characters are developed.
While I loved 95 percent of this film's moody and atmospheric lighting, at times it's so dark you can't tell what's going on. Still, the shots are well constructed, the actors well directed, and their performances subtle yet effective. Dig the sexual tension that is constantly building between Muraki and Saeko, and how this tension is dealt with. Somehow I felt myself sympathizing with this killer in a very real way, and this says something about Shinoda's and "Pale Flowers" success.
Upon attempting to release "Pale Flower," the studio's censor banned the film, and this fact says quite a bit about the temperature of Post-War Japan's pop culture, and the target audience of this film. While the director claims the film is about Japan's uncertain stance in the Cold War, it may be more accurate to say that the film is about Shinoda's Nihilistic stance towards Japan's relationship to the world's superpowers.
And while nihilism describes Shinoda, existentialism may better describe Muraki and Saeko. Gambling, animalistic sex, drugs, all in an effort to just feel something, anything, and to get lost in the moments those emotions provide. Some would say that the gambling scenes are too long and do little to advance the plot, but this movie's script is made up mostly of unspoken dialogue and it is during the gambling scenes that the main characters are developed.
While I loved 95 percent of this film's moody and atmospheric lighting, at times it's so dark you can't tell what's going on. Still, the shots are well constructed, the actors well directed, and their performances subtle yet effective. Dig the sexual tension that is constantly building between Muraki and Saeko, and how this tension is dealt with. Somehow I felt myself sympathizing with this killer in a very real way, and this says something about Shinoda's and "Pale Flowers" success.
An allegory for the supposed ennui and purposeless of post-war Japan.
planktonrules9 April 2021
According to information I've read, the writer of the story that became "Kawaita hana", Shintarô Ishihara, is an ardent nationalist who was upset to see how Japan changed following WWII. His story reflects some of his politics and his worry that the new Japan was losing its collective soul. To really understand this, it would sure help to have a Japanese history professor on hand to point out the symbolism (such as the murder at the end of the film which was meant to copy a real life televised killing of a Japanese politician). I was aware of some of this...but am not exactly a student of Japanese history and culture. However, if you can find a copy of this film with a commentary track (something missing when you watch this on the Criterion channel instead of on their DVD), try it.
The story centers on an old school Yakuza member, Muraki, who was just released from prison following the senseless murder of a member of another clan. Soon after re-entering society, he finds himself infatuated with a really screwed up rich lady who apparently is slumming it. Saeko shows many of the traits of a Borderline Personality...self-destructive behavior, various addictions and a need for excitement. In contrast, Muraki is much more stable and, at times, rather quiet and dull. And, through the course of the story, Muraki mostly seems like a distant man watching the world around him....until the ending, where he suddenly and viciously acts. What exactly will happen with Muraki and Saeko? See the film.
This film might be tough for some viewers, as although it's a film about organized crime, it's NOT all about action and murder. Much of the film seems slow and mundane even. This is NOT a complaint...more a commentary about the Yakuza and society as a whole. A most unusual film...and one that you find yourself immersed in even if the pace is slow and very deliberate. Worth seeing...especially for the inventive camera angles and framing of many of the shots.
The story centers on an old school Yakuza member, Muraki, who was just released from prison following the senseless murder of a member of another clan. Soon after re-entering society, he finds himself infatuated with a really screwed up rich lady who apparently is slumming it. Saeko shows many of the traits of a Borderline Personality...self-destructive behavior, various addictions and a need for excitement. In contrast, Muraki is much more stable and, at times, rather quiet and dull. And, through the course of the story, Muraki mostly seems like a distant man watching the world around him....until the ending, where he suddenly and viciously acts. What exactly will happen with Muraki and Saeko? See the film.
This film might be tough for some viewers, as although it's a film about organized crime, it's NOT all about action and murder. Much of the film seems slow and mundane even. This is NOT a complaint...more a commentary about the Yakuza and society as a whole. A most unusual film...and one that you find yourself immersed in even if the pace is slow and very deliberate. Worth seeing...especially for the inventive camera angles and framing of many of the shots.
Lolita / Elegant Japanese noir
birthdaynoodle21 November 2013
Muraki is a middle aged yakuza fresh out of jail for murder. Played to perfection by Ryô Ikebe, he's quiet, disciplined, smokes his cigarettes with style, sports a smart suit and a Johnny Bravo haircut. When a woman from a past affair (Chisako Hara) desperately pleads for his love, he shows no interest in yielding. If anything, he seems almost embarrassed by her need of affection. His mind is only preoccupied by a sense of duty toward his gang and some casual betting. Enter Saeko (Mariko Kaga), a beautiful, young girl with the face of a doll and big, daring eyes. She has the look of someone who has nothing to lose. A wealthy, spoiled brat, a nihilist bored with life, she kills time by gambling away her money. Muraki is immediately drawn to her. At first, he's flattered by her attention, but he soon discovers he's too decent and safe for her, not quite extreme or dangerous enough. His pride is wounded, yet he becomes addicted to her youthful foolishness and decadence. Doom is around the corner.
Everything about this film is superbly elegant: the acting, the art direction and black-and-white photography, the avant-garde music composed by Toru Takemitsu, the man responsible for the soundtrack of any number of Japanese classics, including Teshigahara's 'Woman in the Dunes', Kurosawa's 'Ran' and Imamura's 'Black Rain'. Directed by Masahiro Shinoda, 'Pale Flower' belongs in the pantheon of great films noirs alongside the likes of 'The Big Sleep' and 'The Postman Always Rings Twice'.
***** Spoilers *****
Part of what's most interesting about the relationship between Muraki and Saeko is that it is so Platonic. There's no sign of sexual contact between them. Muraki wants her physically, yet fails to have her. It's a kind of impotence that he experiences. In turn, he becomes more of a protective father figure. After all, Muraki's probably over twice her age. (When they made the film, the actor was 47 and the actress 21.) So there's a sexual tension, an Electra complex (like the Oedipus complex, with the male and female roles reversed). But she saves herself for Yoh, a younger, wilder, more exotic yakuza and this drives Muraki crazy. (This reminds me of Nabokov's 'Lolita', published only a few years earlier.) By the end, a despondent Muraki volunteers to take down the boss of a rival gang, knowing well that this will put him back in prison. But he accepts to do it because he hopes it will excite and impress Saeko. He is sacrificing himself for her pleasure. When he thrusts his knife into the body of his victim at the restaurant, he's projecting onto the act of murder the violence of his frustrated desire for her. Fascinated, she watches from a distance. However, we later learn that Yoh has killed her in an act of passion. So it is Yoh who actually penetrates her with a knife (obviously, a phallic symbol). Muraki has been one-upped again. He has come up with a concept that Yoh ultimately takes to the next level. Saeko's relationship with Muraki remains ideal, while with Yoh it is carnal.
Similarly, Muraki is tormented by the prospect of Saeko doing drugs with Yoh, partly because he wants to protect her as a father figure, but also because that could involve Yoh penetrating her with a needle (another phallic symbol).
Everything about this film is superbly elegant: the acting, the art direction and black-and-white photography, the avant-garde music composed by Toru Takemitsu, the man responsible for the soundtrack of any number of Japanese classics, including Teshigahara's 'Woman in the Dunes', Kurosawa's 'Ran' and Imamura's 'Black Rain'. Directed by Masahiro Shinoda, 'Pale Flower' belongs in the pantheon of great films noirs alongside the likes of 'The Big Sleep' and 'The Postman Always Rings Twice'.
***** Spoilers *****
Part of what's most interesting about the relationship between Muraki and Saeko is that it is so Platonic. There's no sign of sexual contact between them. Muraki wants her physically, yet fails to have her. It's a kind of impotence that he experiences. In turn, he becomes more of a protective father figure. After all, Muraki's probably over twice her age. (When they made the film, the actor was 47 and the actress 21.) So there's a sexual tension, an Electra complex (like the Oedipus complex, with the male and female roles reversed). But she saves herself for Yoh, a younger, wilder, more exotic yakuza and this drives Muraki crazy. (This reminds me of Nabokov's 'Lolita', published only a few years earlier.) By the end, a despondent Muraki volunteers to take down the boss of a rival gang, knowing well that this will put him back in prison. But he accepts to do it because he hopes it will excite and impress Saeko. He is sacrificing himself for her pleasure. When he thrusts his knife into the body of his victim at the restaurant, he's projecting onto the act of murder the violence of his frustrated desire for her. Fascinated, she watches from a distance. However, we later learn that Yoh has killed her in an act of passion. So it is Yoh who actually penetrates her with a knife (obviously, a phallic symbol). Muraki has been one-upped again. He has come up with a concept that Yoh ultimately takes to the next level. Saeko's relationship with Muraki remains ideal, while with Yoh it is carnal.
Similarly, Muraki is tormented by the prospect of Saeko doing drugs with Yoh, partly because he wants to protect her as a father figure, but also because that could involve Yoh penetrating her with a needle (another phallic symbol).
Slick, Sleazy, Sexy, Stylish - Pale Flower
asandor5 July 2015
Warning: Spoilers
"Pale Flower" is directed by Masahiro Shinoda, and stars Ryo Ikebe as a slick yakuza recently released from a prison stint for murder. He meets Saeko (Mariko Kaga), a young women who seeks thrill and excitement. The two fall for each other, and navigate the dark nights of Tokyo looking for big gambling and excitement.
This was a very stylish yakuza film-noir. It has colour and flare in droves, and is well shot and directed. The film oozes charm, as the two brave gambling dens, yakuza fronts and race along Tokyo highways at 2am.
It is a story about two individuals who share the same disassociation with society, and feel nothing about life. They struggle to find meaning and enjoyment during the day, but fill their nights with sex, gambling, crime and drugs in order to make it.
I really loved this movie. It kept me gripped for most of the film, even though little in the way of action occurs. This film instead keeps you focused on Muraki and Saeko as they struggle through the underworld together.
I loved this film and highly recommend it. 9/10
This was a very stylish yakuza film-noir. It has colour and flare in droves, and is well shot and directed. The film oozes charm, as the two brave gambling dens, yakuza fronts and race along Tokyo highways at 2am.
It is a story about two individuals who share the same disassociation with society, and feel nothing about life. They struggle to find meaning and enjoyment during the day, but fill their nights with sex, gambling, crime and drugs in order to make it.
I really loved this movie. It kept me gripped for most of the film, even though little in the way of action occurs. This film instead keeps you focused on Muraki and Saeko as they struggle through the underworld together.
I loved this film and highly recommend it. 9/10
So very black and so very white
christopher-underwood10 October 2015
So very black and so very white, so Japanese and so very cool, this is a most impressive film. More new wave than neo-noir, this looks fantastic throughout and if the story is not much and the telling not very fast, it is always arresting. The sparse dialogue is so of the period with talk of boredom, adrenaline rushes and death and if the gambling game itself appears a little basic, the sinister chanting and chip clicking help make for most hypnotic sequences. never mind that the men seem to have to remove their jackets and trousers and shield their chip behind their jacket. The music, at times ambient and at others more jazzy always seems to be spot on, whether we are wandering the back streets of Tokyo and Yokohama or racing in cars along the highway. All performances convince and there are such characters, some only hinted at here, that it seems perfectly possible half a dozen films could have been made.
Stylish Japanese film noir
shinrisen19 February 2023
I've just had a very enjoyable first viewing of 'Pale Flower', a Japanese film-noir/crime flick, beautifully shot in black and white about a gangster named Muraki who gets out of prison and meets an adrenaline junkie named Saeko, a beautiful young woman who loves to take risks.
The film has a very unsettling and tense vibe most of the time, helped by the amazing soundtrack (that intro sequence was something else!). The cinematography is also lovely although I must admit I have a penchant for well lit black and white films. The plot is pretty straight-forward, has very little in terms of surprises and it is very much a vehicle to explore Muraki's and Saeko's characters.
Definitely a film I'd recommend!
8/10.
The film has a very unsettling and tense vibe most of the time, helped by the amazing soundtrack (that intro sequence was something else!). The cinematography is also lovely although I must admit I have a penchant for well lit black and white films. The plot is pretty straight-forward, has very little in terms of surprises and it is very much a vehicle to explore Muraki's and Saeko's characters.
Definitely a film I'd recommend!
8/10.
They Live By Night
boblipton1 June 2019
This movie reminded me of August Le Breton; not that I've read any of his books, but I have seen RIFIFI and DU RIFIFI A PANAME, movies from his writings, of crooks fallen behind the times, who believe that there is honor among thieves, only to learn to their sorrow there isn't.
Ryô Ikebe has just been released from prison. He returns to a gang in a struggle to maintain its territory. He does his duty by his gang, but the only thing he cares about is the illegal gambling dens, one of the 'Pale Flowers' of the movie -- apparently the movie was held back because director Masahiro Shinoda shot the gambling sequences accurately in the midst of a government crackdown on the dens. The other pale flower is Mariko Kaga, a blank-faced beauty, likewise addicted to gambling, who only shows wild emotions in the aftermath. She's a compelling anomaly. In a Japan where the women exist solely for men's pleasure and for birthing their heirs, she seems to exist outside normal and Yakuza rules. As Ikebe falls under her succubine influence, he finds his rival is the lowering Takashi Fujiki, a psychotic dope fiend.
It's a film noir, demi-monde Pandemonium these two live in; the daytime shots on the streets of Tokyo are stolen and look washed out, reflecting where these people live; there's even a clock near the beginning, even though the Dutch Angles are missing. Instead we have people trying to fill time, at the racetrack, at cards, trying to distract them from the existential boredom with their lives, the yearning for the normal world of Japanese society they cannot enter. In the end, Ikebe knows, his role is to kill for his gang and go to prison, which is a limbo for him. What torments him is that he is neither good nor bad, so he must cycle endlessly between Limbo and the Abyss.
Ryô Ikebe has just been released from prison. He returns to a gang in a struggle to maintain its territory. He does his duty by his gang, but the only thing he cares about is the illegal gambling dens, one of the 'Pale Flowers' of the movie -- apparently the movie was held back because director Masahiro Shinoda shot the gambling sequences accurately in the midst of a government crackdown on the dens. The other pale flower is Mariko Kaga, a blank-faced beauty, likewise addicted to gambling, who only shows wild emotions in the aftermath. She's a compelling anomaly. In a Japan where the women exist solely for men's pleasure and for birthing their heirs, she seems to exist outside normal and Yakuza rules. As Ikebe falls under her succubine influence, he finds his rival is the lowering Takashi Fujiki, a psychotic dope fiend.
It's a film noir, demi-monde Pandemonium these two live in; the daytime shots on the streets of Tokyo are stolen and look washed out, reflecting where these people live; there's even a clock near the beginning, even though the Dutch Angles are missing. Instead we have people trying to fill time, at the racetrack, at cards, trying to distract them from the existential boredom with their lives, the yearning for the normal world of Japanese society they cannot enter. In the end, Ikebe knows, his role is to kill for his gang and go to prison, which is a limbo for him. What torments him is that he is neither good nor bad, so he must cycle endlessly between Limbo and the Abyss.
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