Branded To Kill Full Movie Hd Download
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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.
The number-three-ranked hit-man, with a fetish for sniffing boiling rice, fumbles his latest job, which puts him into conflict with a mysterious woman whose death wish inspires her to surround herself with dead butterflies and dead birds. Worse danger comes from his own treacherous wife and finally with the number-one-ranked hit-man, known only as a phantom to those who fear his unseen presence.
Japanese novelist Yukio Mishima cranked up the concept of reality T.V a few notches in 1970 when he invited a few of his media pals along to a hijacking of a government building where he then performed seppuku (Ritual self disembowelling) as a protest against the erosion of traditional Japanese values. Japan in the late 60's saw an upsurge of such demonstrations against western influence an uprising which had seen riots outside the Budokan Sports Arena a few years previously when the Beatles appeared there. Somewhere during this volatile chapter of cultural osmosis director Seijun Suzuki got fired by the Nikkitsu film company for making his masterpiece BRANDED TO KILL.
This maverick film maker was already on thin ice with his fiercely conservative paymasters when his 1966 film TOKYO DRIFTER took the Yakuza (Japanese gangster) genre into new (and thus feared) directions but BRANDED TO KILL was the one that finally broke the chopstick - Rendering the director unemployable for a decade.
BRANDED TO KILL charts the fall and fall of No3 Killer, (Jo Shishido) a down at heel hit-man, who bodges an assignment when a butterfly lands on the end of his rifle just at the crucial moment. For this gaff he is now subject to the murderous attentions of the mythical No1 Killer.
Looking like a giant Gopher in a mohair suit and Raybans, No3 Killer finds himself in a bizarre vortex of shadows and monochrome as he attempts to save his girlfriend from being incinerated, get the better of superior Killer No1 and to survive to become No1 himself. His bizarre quirk of using boiled rice as a form of Viagra does nothing to make his journey anymore straightforward.
Surely one of the most beautiful black and white films ever, BRANDED TO KILL is a collision of American 'Noir' and giddy Japanese oddness. A genuine cinematic experience - everything within the frame appears to be sculptured from mercury.
Cultural Osmosis is rarely an easy thing, but when it works, the result is often something like the offbeat gorgeousness of BRANDED TO KILL.
For Seijun Suzuki, a mediocre Yakuza product film was not a pay check, it was a challenge. Suzuki was a long time director-for-hire by Nikkatsu- churning out cookie cutter yakuza as anti-hero films for the Japanese masses. However, somewhere around Youth of the Beast, something changed in Suzuki. It may have been the arrival of the likes of Bergman, Godard, and Bunuel into the Japanese art house cinemas or Suzuki's growing fondness of the burgeoning youth culture, but his films took a quick turn from product to art. Comparing one of Suzuki's early Nikkatsu films to Branded to Kill is similar to comparing Brian Wilson's "Surfing U.S.A." to Pet Sounds or Smile--while the genius was always there, it bloomed in full when the artist took control of his work.
Branded to Kill is an existential, post-modern crime film. It is not a yakuza film. Even though Jo "Big Cheeks" Shishido plays the standard anti-hero yakuza hit-man, this is irrelevant. Like Jodorwosky's El Topo, the genre film is only the medium to explore the bigger themes. At the heart of Branded to Kill is a film about madness, reality vs. surreality, obsession, and cinematic art. What the viewer is left with is an exotic miasma of hip sexiness and radical filmmaking. Suzuki was still making yakuza exploitation (the long drawn out sex scenes, the absurd gun play, the main character is way too cool for school, and bizarre incorporation of Western film and T.V. such as the BBC series The Prisoner) but everything is also a bit off- the sexy cool Number 3 demonstrates highly uncool OCD traits such as his obsession with boiled rice and his moral reaction to both his victims and those who betray him. But, most important, is the introduction of a fringe, non-archetypal element into the film--the phantom, No. 1 Killer. In a day when the yakuza script was film by numbers, nothing prepared the audience or studio heads for the bizarre exploration into existential madness which is No. 3 and No. 1's interactions in the final half of the film. And Suzuki would pay dearly for his creative exploration.
Branded to Kill was embraced by the growing left-leaning Japanese youth movement as an anti-establishment sign Japan's art and cinema world was embracing the radically unpredictable European cinema of the time. But the youth movement was all that embraced the film. Suzuki was blacklisted for a decade for delivering yet another noncommercial film that audiences either didn't understand or didn't care enough to even try to understand. We tend to think of Hollywood as a popular or die industry of cookie cutter, safe films when the Japanese film industry dwarfs the artistic apathy of Hollywood. Suzuki became a martyr of the anti-establishment movement and an international symbol that Japan had grown past the domestic dramas of Ozu or samurai films of Kurosawa on the international stage. Branded to Kill would go on to inspire a generation of Japanese and international filmmakers- from Kitano to Jarmusch.
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