Outrage Full Movie In Hindi 720p Download
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The movie begins with Sekiuchi, chairman of the Sannokai, a huge organized crime syndicate controlling the entire Kanto region, issuing a stern warning to his lieutenant Kato and right-hand man Ikemoto, head of the Ikemoto family. Kato orders Ikemoto to bring the unassociated Murase family in line for their drug trafficking business, as he knows that Ikemoto is Murase's sworn brother. Ikemoto immediately passes the task on to his subordinate Otomo, who runs his own crew. Ikemoto is suspecting that Sekiuchi has lost confidence in him and instructs Otomo to "shake up" Murase as to make it look like that have "a little quarrel". What ensues is series of violent events in between which everybody is trying to trick everyone behind his back for their own benefit.
The plot concerns a struggle for power amongst Tokyo's Yakuza clans, today just as likely to be playing the stock market as shaking down pachinko parlors, over which the Sanmo-kai clan holds sway in the face of constant betrayal and ever-changing allegiances. The Sanmo-kai chairman learns that his henchman Ikemoto has struck an alliance with the drug-dealing Murase family, and is not best pleased, to say the least. The ensuing retaliation triggers an orgy of killings, territorial invasions and score settling while law enforcement officers are too corrupt to intervene.
Kitano, who has left the personal, lyrical and poetic quality behind, now emerges as a filmmaker reaching out to the mainstream. Outrage is the start of his second Yakuza trilogy (Outrage 2 has been announced for next year), and plays out on a Shakespearean stage with the epic quality of Dostoyevsky. Unlike his first trilogy (Violent Cop, Boiling Point and Sonatine), this movie focuses on the politics of the yakuza rather than an intimate portrait of a compromised individual.
There are random acts of extreme violence that continue to propel the plot forward. Kitano, playing the underboss Otomo, is a similar role to his other characters in yakuza movies which portray out of control individuals that have a minor standing yet have the last word at the end of the play. Rather than focusing on the beauty of mobsters hiding out on the beach, this is a gritty, urban drama much in the tradition of Johnnie To's triad movies (Election) that has dominated the organized crime dramas over the past decade.
In showing the criminality of the human mind, it evokes Mario Bava's study in Rabid Dogs, similarly Kitano is building a Brechtian inspired drama about the harsh existential life. Kitano continues to explain and further define his worldview through the character of a doomed nihilist anti-hero. In all of Kitano's yakuza character studies, there is no hope, or redemption, only a further plunge into an ugly existence of lies and deceit, where only an act of violence can bring about change.
As Kitano remarked publicly about his making of Outrage, he is giving the people what they want - no pretense of artistic embellishments, but rather blunt, cruel acts of violence of the professional criminal devoid of any romanticism. One scene in particular evokes The Godfather, but that is where the similarities end - there is nothing glamorous about the yakuza lifestyle.
In this film, Kitano assumes the duties as in his other yakuza films as that of star, director, editor and writer. The vision is completely his own. The pacing is deliberately slow, showing that the life of a criminal is not particularly exciting but rather mundane as that of any other type of businessman, mostly involving allegiances of convenience and acts of betrayal. There is no illumination or redemption here, no course of action will lead to a better life, such is the basic tenet of a nihilist.
There is little flourish in the direction such as to immerse the viewer into the dark, banal existence of its characters. The one scene that brings a sense of relief with sunlight streaming through the trees on a backstreet, is colored darkly by seemingly innocent activity that is actually quite sinister for the individuals involved.
This is a welcome and long overdue return for Kitano to the yakuza genre which he abandoned a decade ago for a trilogy of felliniesque introspective autobiographical films. There are no experimental sequences or absurdist imagery as in his previous films. As a consequence, Kitano is no longer held back with meditative musings, instead giving the viewer an unfiltered take on the corruption, lies, and phony existence of the individual in an artificial society - that any person in any social situation is merely part of an inauthentic social contract.
In many ways, the lack of artistic pretense in Outrage only serves to further embolden the bleak message that Kitano has for us. This is not a film for the weak of heart, nor is it one for the impatient, it is a slow revelation revealing the emptiness of life and the pointlessness of all action.
OUTRAGE marks the first Beat Takeshi Yakuza film from the writer/director/star in a decade, ever since the exemplary BROTHER. The good news is that OUTRAGE is a mini-masterpiece of a Yakuza film, with a classic tit-for-tat plot, some outrageously gory moments, and a real verve and drive to it that makes for unmissable viewing. Be warned: this is very grisly stuff indeed, and it may well be the goriest Yakuza film I've yet to watch.
The plot is familiar stuff about a feuding Yakuza family and how the feud begins with small scale stuff before building into a full-blown massacre. The production values are exemplary: this is beautifully-shot stuff in which even the gore and bloodshed is handled in an attractive way. The performances are all very good, not least from the brooding auteur himself, and the ending is extremely downbeat and pessimistic rather than the usual gung-ho stuff we see in the movies. A sequel, BEYOND OUTRAGE, followed.
As violent, amoral and misanthropic as a Jacobean play, Outrage is Takeshi Kitano's first yakuza flick since "Brother" (2000), and arguably his best film in a decade.
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