(1997/JAPAN)
REVIEWED BY-STEVE GENIER DIRECTED BY-ROKURO MOCHIZUKI STARRING-YOSHIO HARADA, REIKO KATAOKA, SHO AIKAWA, KO KITAMURA, RYUJI MIZUKAMI and HIROYUKI TSUNEKAWA SOURCE-ARTSMAGIC DVD (NTSC REGION 1) 2005
Once again director Rokuro Mochizuki gives us another character study of sorts into the mind of a longtime Yakuza who is just being released from prison. How he must adjust to the world after being out of the circle for a long time. Much like his film ANOTHER LONELY HITMAN (1995), he dives into the psyche of a Yakuza hitman who has gained enormous respect from the others for his actions. Yet, this does not help the fact that things have changed since he was first imprisoned. Kunihiro (Yoshio Harada) wants to retire and lead a normal life, but his long time friend and co-Yakuza Tanigawa is forced to have Kuni back into the fold. Pressuring him into a job, Kuni will have nothing to do with it. Instead, he accepts a non-Yakuza job as a chauffeur for them. While back into the fold on a part-time basis, Kuni meets a beautiful young piano player a local Yakuza hang out. They become very close and eventually move into together as Kino takes on a legit job after being forced into retirement after creating a scene with a rival gang.
It is here that Mochizuki draws similarities with ANOTHER LONELY HITMAN, where adjusting to the outside world once again is increasingly hard. Though Kuni shows interest in Asako (Reiko Kataoka), he doesn’t advance sexually upon her at once. This has Asako wondering if Kuni really wants her as she calls him on it. Something that is on display with Ryo Ishibashi’s character in ANOTHER LONELY HITMAN. Still, after the countless comparisons ONIBI isn’t nearly as strong as ANOTHER, but does have it own unique aspects that makes this story work as well. The one major element that really had my interest was the casting of Yoshio Harada as the lead. His laid back approach to the character of Kuni is the absolute reason this whole film works. Displaying a sense of seasoning as a hardened criminal who has "been there, done that" really gets under the skin. It not only frustrates those who cross his path, but the viewer as well. Of course I mean that in a good way, as it is best used to illuminate the unreadable and maintaining the upper hand at the same time. In other words he is totally unpredictable in his every actions. That is one major element that has direct effect on the overall story and atmosphere of the film. So, you are totally in for a drive along a road without any signs to direct you.
Still though, ONIBI will always draw comparisons to ANOTHER LONELY HITMAN especially to those who have seen both films. Of course this will always haunt it and hinder it in the long run. Shame really as this film does display some very unique and refreshing elements, some of which I have already pointed out. Though the pace it somewhat slower then ANOTHER LONELY HITMAN, it is with good reason. Like the climate displayed, hot and very stagnate, so is the storyline. Only fitting to the performance given by Yoshio Harada as well. The story is nothing to set aside either, though it’s been done before, there are certain qualities that are given a slightly different lighting here. The love story aspect is strangely unique, an older man and a much younger woman. Though, Kuni’s relationship is a bit fatherly-like at first, it’s as if he becomes almost too at home with Asako. By this I mean, it’s as if he transforms into someone who is much younger in his views towards her, which I guess is a good thing for Asako. Who is almost alienated from her parents, something that is shown in a scene where she calls home and talks briefly with her mother. That and when Kuni breaks into her parents house to steal some of her belongings. Something that she acts coldly towards, trying to forget her past in ways. This is something director Rokuro Mochizuki seems to case study a lot with both this film and ANOTHER LONELY HITMAN. Pairing up two opposites and making them work, of course putting them through hell in the first though.
ONIBI, is an awkward dramatic tale where paths are chosen and the pasts are always present. Showing that the Yakuza can infiltrate any given area of cinema and exploiting it to their own good. Of course, I’m only talking about subject matter here. The Artsmagic DVD is another testimony has to how they are single handedly becoming or close to the number source for Japanese genre cinema onto DVD. Their upcoming release of ONIBI, is another fine example of how dedicated they are to bringing top quality products to the fans. The disc is presented in an anamorphic wide-screen with the original aspect ratio of 1.78:1. The print is amazingly quite clear and re-mastered to what one could say perfection. The audio is equally as good, presented in a stunningly clear 5.1 Dolby Digital surround, in it’s original Japanese with English subtitles. Along with the audio you are also treated to the return of Tom Mes with the disc’s commentary. I’ve noticed that they have used Midnight Eye’s other man in the know Jasper Sharp for their last few releases. Tom hasn’t missed a beat as he gets right down to business with giving us the complete details on not just the film, but everything associated with it. Complete knowledge is always a great companion and there is no shortage here. There is also an exclusive interview with ONIBI’s director Rokuro Mochizuki, which runs for about 29 minutes in length. To top of the rest of the disc, there are some bios and filmographies as well.
STORY/FILM-3.5 BITCH SLAPS PICTURE-4.5 BITCH SLAPS AUDIO-4.5 BITCH SLAPS EXTRAS-3 BITCH SLAPS OVERALL DVD-4 BITCH SLAPS Discuss this film in our forums.
