Download Branded To Kill
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After a badly done assignment, a hitman finds himself in conflict with his organisation, and one mysterious and dangerous fellow-hitman in particular.
The film's story centers on Hanada, a.k.a. "No. 3 Killer," the third-best hit man in Japanese organized crime. Near the top of his game, his fortunes change when he encounters Misako, a mysterious, death-obsessed woman who brings him a particularly difficult mission. In a famous moment indicative of the film's eccentric sensibility, a butterfly lands on his gun's sight at the exact moment he pulls the trigger, causing him to miss the shot. This failure means that the killer becomes the target, and must run for his life from his former employers, and the mysterious "No. 1 Killer." While the film does contain some spectacular action sequences, the story is played less as a suspense thriller than as a surrealistic, psychosexual nightmare, filled with grotesque imagery and strange touches, from Hanada's fetish for the smell of boiling rice, to Misako's use of a dead bird's corpse as a rear-view mirror decoration.
This movie is notable for its unusual deviation from the Yakuza/gangster format. Aesthetically it features tastefully lit sets, well-choreographed violence, and weird moments of goofball surrealism. The main characters walk an interesting line between cool and completely weird. Although, by the end they've gone way deep into the territory of being totally creepy.
The plot kinda hard to follow, but it's about this hombre, Jo, the No. 3 killer for the Yakuza, and how there is a competition for rank between the top killers which sometimes involves them being hired out against one another on jobs. On the side, Jo is a sex-maniac (with a sex-maniac wife) who is erotically infatuated with the smell of boiling rice and some dead-bug-collecting woman who is more goth than Wednesday Addams. That's about as concise of a "plot" as you get. Oh--and no one has ever seen the no. 1 "Phantom" killer, so clearly we're gonna be building up to that. Capiche? Hahaha....
Eventually the movie becomes a chore to watch. Some of the cuts between scenes are completely abrasive, a lot of "plot points" happen with no explanation or reason, and right when you think the movie is going to end it goes into another 20 or so minutes of a totally insane stand-off. Yeah, what plot does exist is sometimes abandoned for extended periods of time to show montages of sex-having. You heard me: montages of sex-having.
I thought some of the stuff during the appearance of the "Phantom" killer was pretty funny and the shoot-outs were really well executed and occasionally had a dark sense of humor, but that didn't save the draining quality of the pacing and editing. And really, I understand where the off-beat elements come from -- you can feel the director playing around, trying to enjoy himself in a genre that he's bored to tears with. Some of the film makes me wonder if it inspired some of Miike's more light-hearted moments, with the random jokes amidst fatal violence and the little surrealist vignettes that come out of nowhere.
It's worth a look, but it is a goofy self-conscious movie about film-noir, made with a late '60s panache. That's right, panache!
Seijun Suzuki made 42 films for Nikkatsu Studio, 1967's "Branded to Kill" being his last. It was his last because he was fired (while still under contract) for making a film that made no sense and no money. Suzuki sued the studio for breach of contract and as a result was blacklisted by the Japanese film industry. Undeterred, he worked in television for ten years before returning to the big screen in 1977. But time loves an artist and his art and in recent years "Branded to Kill" has been championed by film makers, film students and critics and is now considered a classic.
Hanada is a yakuza hit man with ambition. He is the No. 3 ranked assassin and wants to be No.1. But things aren't going right. He botches an assignment to provide protection for a boss then blows a hit when a butterfly lands on his rifle sight as he is ready to pull the trigger. The mob then puts out a hit on Hanada and he is on the run. But he has more problems than that. His sexy wife (who has more gratuitous nude scenes that I thought possible in a Japanese film of this era) is sleeping with Hanada's boss and Hanada is stalked by the mysterious No.1.
A straightforward plot is completely lost in a totally confusing narrative that has events out of chronological order, changes in space and time, and shifts in tempo that leave the viewer thinking that they are either watching the worst edited film of all time or they have somehow slipped into a David Lynch parallel universe. Suzuki's film grammar is that there is no grammar. You can do anything you want as long as it keeps the film interesting – and entertaining. The result is a fascinating, bizarre and mystifying film that is not only highly original but dazzling to look at. The black and white Cinemascope looks as good as anything I've ever seen and the camera direction is inspired.
But the look of the film is not disconnected from the story. The expressionist style – amazing lighting effects, surreal widescreen images and the confusing edits – all create a nightmare film language that mirrors the nightmare that Hananda is experiencing within the story. There is a femme fatale who has a dead bird hanging from her cars rear view mirror (which, actually, would be better than one of those ghastly air fresheners), lives in an apartment full of dead butterflies strung up into a lacy embroidery and has an attraction for water that leaves her glistening wet in most scenes. BTK also has an absurdist comic feel to it: James Bond loves his vodka martini's, Hanada loves his boiled rice. And in a scene that has since been copied, Hanada shoots someone by firing a bullet into a basement drainpipe, the bullet traveling up through the pipe and out of a sink on the second floor and into the eye of an optometrist. It all seems to work as it plays with the usual yakuza themes: loyalty and honor, an existential loner hit man, double crosses and hit men assassinating other hit men.
This film is not for those who prefer a straightforward narrative or a film with a logic that can be discerned by simply watching it again. But others will find this fascinating film something they will want to watch again...and again.
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