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— by Carl Davis
For fans of great cinema a collaboration between two of Japan's artistic icons, writer/director/actor Takashi Miike and writer/director/actor Takeshi 'Beat' Kitano, is a nothing less than a dream come true. And to the surprise of absolutely no one familiar with their work, the end result, "Izo" (2004), is unlike anything either of the two utterly unique filmmakers has done before. On its surface, "Izo" is a sprawling, surrealistic epic, picking up where Hideo Gosha's 1969 chanbara (Samurai) classic, "Tenchu," left off — with the torture and crucifixion of a lowly ronin, Izo (Kazuya Nakayam), left for dead by his clan. But Miike's film goes much further than relating a simple tale of vengeance; rather, he delves deeply into the sutras, the teachings of the Buddha, to explore what it means, ultimately, to be human.
Izo, it turns out, did not die on the cross, and now his demonic rage drives him to strike out, across time and space, at institutions that nurture human cruelty: government (represented by Kitano's portrayal of the Prime Minister), family, religion and even the basic tenets of civilization are all targets of Izo's wrath, while the multiple layers of meaning Miike has woven into the film allow for myriad interpretations of his protagonist's journey. Is this a portrayal of one man's personal hell, an allegory of humanity's self-destructive crimes or just one supremely messed-up Samurai flick? Or all three? With the release of "Izo" on DVD this week and the upcoming theatrical release of "Three... Extremes," to which Miike also contributed a segment, now is an ideal time to take a look at the careers of both of these amazing auteurs.
Takashi Miike — The Prolific Firebrand
 "Dead Or Alive Trilogy" (1999-2002)
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These three daring, thematically linked films mark a high point in Miike's already epic filmmaking career. Veteran Japanese character actors Riki Takeuchi and Sho Aikawa star in each of the three films, usually pitted against one another and, occasionally, against the world. The first film, or act, in the trilogy turned a stereotypical crime picture on its ear, kicking things off with a relentlessly hyperkinetic style that effortlessly propelled the film to an apocalyptic finale. "Dead or Alive 2: Birds," a tale of two childhood friends turned rival hit men is, for many fans, Miike's masterpiece, seamlessly melding lost innocence with scenes of increasingly brutal violence. For "Dead or Alive: Final," Miike veered into sci-fi, fast-forwarding 300 years into the future, where rebels fight an oppressive regime whose agenda of forced sterilization is abetted by the imprisonment and murder of pregnant women and children. While not as exuberant as the trilogy's first two installments, "Final" showed that Miike continues to challenge himself, gamely bringing his unique style to an entirely new genre.
"The Happiness Of The Katakuris" (2001)
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It's a tradition in Japan that each of the major movie houses releases a big family film for the New Year's holiday, and Shochiku Studios asked Miike to adapt the successful Korean comedy "The Quiet Family" for a 2001 release. Miike's remake is far from quiet, but even with its increasingly grotesque and hilarious scenarios it became a huge critical and commercial success. Unhappy and unsuccessful in their city lives, the Katakuri family (father, mother, son, daughter, grandson and grandfather) head for the hills, literally, and open an inn on the side of an active volcano. Their guests are an eclectic bunch — and, through a series of mishaps, each and every one of them winds up dead. Aware that news of these deaths might just hurt their business, the family disposes of the bodies. In this stunning all-singing, all-dancing horror flick with a heart, Miike proves that the family that slays together stays together.
"Ichi The Killer" (2001)
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The prolific director had a banner year in 2001, directing seven films, but none would prove as divisive among critics as this twisted take on the superhero genre. The mysterious Ichi (Nao Omori) is far from being a pure, blameless hero; in fact, in Miike's macabre universe, Ichi and his much-put-upon nemesis, Kakihara (Tadanobu Asano), both fulfill the archetypal roles of hero and villain. When a yakuza boss goes missing, his lieutenant and whipping boy, Kakihara, suspects that the new scourge of the underworld, a man known only as Ichi, is responsible. At the end of a trail of bloody, eviscerated bodies and entrails, the two enemies meet in a climactic showdown from which only one can walk away. Miike brilliantly deconstructs the superhero genre, examining the sadism inherent in a hero who is always "punishing" wrongdoers, and the masochism of his forever beleaguered foes.
"The Bird People In China" (1998)
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Miike has developed a reputation as an iconoclast over the years, constantly subverting and mixing genres; but for every barrier he breaks down and every button he pushes he remains an extremely gifted storyteller and artist. Wada (Masaahiro Motoki) is a Tokyo businessman investigating a newly discovered vein of jade in a remote Chinese province. Ujiie (Renji Ishibashi) is a tough yakuza tagging along to make sure Wada's company makes good on repaying its debts to his gang. When their guide loses his way, the three men stumble upon a curious village populated by people who for generations have passed down the gift of human-powered flight, using wings made of bamboo and rice paper.
"Fudoh: The New Generation" (1996)
Considered by many to be Miike's first "great" movie, "Fudoh" brought him to the attention of the world film community, winning the award for Best Live Action Film at the Portugal's 1998 International Fantasy Film Festival. Riki Fudoh (Shosuke Tanihara) is your typical high schooler — except that his father is head of the local yakuza clan and murdered Riki's older brother to make amends to one of his rivals. Riki was just a boy when he witnessed the gruesome filicide and vowed that one day he'd form a gang powerful enough to overthrow his father and his cronies. Miike injects what could have been a by-the-numbers vengeance flick with his trademark brand of over-the-top theatrics, creating a dizzying blend of four-color mayhem that really needs to be seen to be believed.
Takeshi Kitano — The Methodical Master
"Brother" (2000)
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This dark tale of honor, loyalty and, as the name would imply, brotherhood was Kitano's first and, to date, only American-based cinematic outing. Yamamoto (Kitano) is a yakuza on the run. His gang has been wiped out in a turf war and he must head to Los Angeles to try and start a new life with his half-brother, Ken (Claude Maki). Ken and his partner, Denny (Omar Epps), are a couple of small-time hoods who welcome Yamamoto's experience, and under his leadership they're able to create one of the most powerful gangs in the city. But when the Mafia steps in and systematically begins to disassemble everything the group has worked for, Yamamoto finds that, while he might be bound to Ken by blood, he and Denny share an even deeper bond that represents the true meaning of the word "brother."
"Kikujiro" (1999)
Known for a tough, ultra-cool exterior, Kitano astonished filmgoers with this surreal, sentimental road picture. Kikujiro (Kitano) is a low-ranking yakuza given an important mission by his wife: escort her friend's soft-spoken, sensitive 9-year-old grandson, Masao (Yusuke Sekiguchi), on a trip to find his estranged mother. Armed with an old photo, an address and limited funds, the mismatched pair sets off — with just a quick stop at the racetrack, of course, along the way. Kitano, who based Kikujiro on his own troubled father, brings both gravity and levity to the film, creating something sincere where others might well have settled for sappy.
"Fireworks" (1997)
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Kitano seems to have answered many of the questions he raised in his violent, nihilistic gangster epic, "Sonatine," with this grim tale of a cop's single-minded quest for justice. Reeling from his daughter's recent murder, his wife Miyuki's (Kayoko Kishimoto) diagnosis of terminal cancer and his partner's confinement to a wheelchair after a brutal gun fight, Nishi (Kitano) is pushed to the breaking point and beyond. He takes a loan from the local yakuza and subsequently quits his job in order to spend what little time he has left with his wife. He quietly orchestrates one of the most memorable bank heists put to film in recent years in order to repay his debt, only to find that he still owes more "interest" on the loan. Nishi takes Miyuki on a final vacation, knowing that ultimately he will have to answer to the gangsters — but he intends that the reckoning will be on his terms.
"Sonatine" (1993)
It's no surprise that Quentin Tarantino latched onto this dark, violent picture and gave it a domestic release under his Rolling Thunder Pictures banner. Murakawa (Kitano) is a high ranking yakuza officer weary of his life of crime and considering retirement when his boss gives him the unpleasant task of settling a gangland dispute in Okinawa. It's clear from the start that Murakawa and his team have been set up, so they do the only reasonable thing they can: They head to the beach. The juxtaposition of these hardened criminals relaxing and even frolicking in the surf and sand only reinforces the sadness and emptiness of their lives. Murakawa even begins a fling with a local girl, knowing that this is as close to an idyllic life as he'll ever come before the inevitable, tragic conclusion. Due to the dissolution of the Rolling Thunder imprint in the Miramax implosion, "Sonatine" was tacked on to the recent release of Kitano's equally impressive samurai epic, "Zatôichi."
"Violent Cop" (1989)
Prior to this film, Kitano was known to all of Japan as a television comedian, "Beat" Takeshi — a name he acts under to this day. Japanese auteur Kinji Fukasaku ("Battle Royale") was initially tapped to direct this gritty crime picture, but was unable to accommodate Kitano's hectic schedule. He left the project, and Kitano took over the production himself, making his directorial debut. In the film, Detective Azuma (Kitano) is the stereotypical loose-cannon cop, playing by his own rules. While investigating his partner's murder, he uncovers a drug trafficking ring within the police force. That's bad enough, of course, but when the yakuza kidnap his mentally disabled sister, they push Azuma over the edge, launching him on a one-man mission of cataclysmic revenge.
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Photos: Media Blasters
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