Brother (2000)

Directed by Takeshi Kitano

Produced by Masayuki Mori & Jeremy Thomas

Starring "Beat" Takeshi Kitano, Omar Epps, Claude (Kuroudo) Maki, Masaya Kato, Susumu Terajima, Royale Watkins, Lombardo Boyar, Ren Osugi, Ryo Ishibashi, James Shigeta, Tatyana Ali, Makolo Ohtake, Kouen Okumura, Naomasa Musaka

Okay, this is where we veer completely left of centre and take a look at the most recent outing for a man who's work I hold a strong affinity. Takeshi Kitano will be a familiar name to many, as since his debut feature "Violent Cop" (1989) his cinematic fare has firmly placed him in position of being Japan's answer to John Woo. The only similarity between the two directors though is their hyperbolic use of stylised violence to elevate their big screen exploits beyond the realms of conventional filmmaking. The parallels end on that note, with Woo being swallowed up by the Hollywood system (albeit at the behest of becoming a major player) whilst Kitano continues the evolution of his eclectic brand of cinema with his feet firmly planted on his home soil. For fans of Kitano's measured stylistics, this can only ever be strong foresight on the director's behalf, as his sometimes-shocking excesses would never be permitted under the auspices of the American studio system. Which brings us to his return to the Yakuza genre that he first made his name in with international audiences.

Under penalty of ordered execution by his clan brother Sugimoto (Shigeta), once their organisation's figure-head is assassinated by a rival gang, brutal hitman Yamamoto (Kitano) is sent abroad as a measure to escape his fate. Yamamoto's destiny is Los Angeles and the relative safety of the company of his half-brother Ken (Maki). Once reunited with Ken his life of crime does not leave him, rather supplants itself to his new environment where he quickly takes Ken's small band of drug-dealers under his wing, building a growing friendship with gang member Denny (Epps). Under Yamamoto's strict Yakuza codes the gang swiftly grows, infusing itself with a strong presence of burgeoning power by eliminating their territorial rivals.

As their influence grows, Yamamoto is joined by his émigré compatriot Lieutenant Kato (Terajima), who forwards the supposition of an alliance with Little Tokyo boss Shirase (Kato). Against the better judgement of his personal advisors Yamamoto accepts Kato's (ultimately fatal) ideal, his new gang breeding a deadly pact with the dangerous Shirase. Rising to the apex of their field in blood-steeped fashion, there is soon only one obstacle between Yamamoto's army and his cornering of the LA crime scene. The Italian Mafia. And they're not about to lose their lucrative foothold to any pretenders to their already fiercely held throne.

Although not quite reaching the lofty heights of his previous mediations in the genre, "Sonatine" and "Hana-Bi", Kitano's "Brother" is the logical evolution of his pre-explored genre, and one would be hard pressed to uncover a more essential exercise in recent gangster cinema than this. The film's strengths lie partially in its abilities to juxtapose its rigorously disciplined Yakuza gangster against his seemingly unambitious American counterparts (only to win them over to his codes of honour), but more directly in the tension created by its ever-escalating aria of operatic cold-blooded violence. Kitano's languid pacing and sense of mise-en-scene creeps ever forward in creating an unsettling atmosphere by punctuating the proceedings with jolting flourishes of graphic violence. The surmounting effect of this technique is one that places the viewer in a perpetual state of unease, dreading the next act of unflinching (and un-telegraphed) brutality. Kitano's more notable talent is his ability to make his audience FEEL the bone-jarring pain of his cinematic violence. It hurts, it shocks, but never glorifies the act. That's a rare feat in this "bums-on-seats" era…

Universe's Region 3 Hong Kong disc is a pretty bare-bones affair, but as it can be found through most Asian online retailers for around $60HK this is a small, small quibble. Presented at its theatrical aspect ratio of 35mm Widescreen (1.85), it has been mastered on a dual layer disc (with a well-placed layer change around the hour mark) for superior quality. The transfer is not without its issues, the most immediately noticeable of these being the shift to a softer image in the less well lit passages. Black levels are fairly average and shadow detail is so-so, but when the picture comes alive it does so with a general level of colourfully detailed finesse.

Audio is presented in what Universe often term an "International version" (multiple language, herein Japanese, English & Mexican) with optional English & Chinese subtitles. For those that are concerned, no the English subs do not switch off automatically were English dialogue is present, but this is to be expected as the disc is coded solely for the South East Asian market. There is a smattering of errors in the English subtitles, but these could be literally counted on one hand, making their presence virtually insignificant.

We've also blessed with three soundtrack options (which is pretty amazing by Hong Kong standards considering the price) in DTS 5.1, Dolby digital 5.1 and Dolby surround 2.0. Being a relatively subdued exercise per much of Kitano's work, directional effects and surrounds are sparingly used…but Joe Hisaishi's lush jazz influenced electronic score sounds simply gorgeous, adding much emotional depth to the film, and when the heavy gunfire kicks in your windows should rattle in their frames! Overall, another nicely presented, if marginally flawed, disc from the ever-reliable team at Universe.

If you're not a fan of Kitano's leisurely paced style of cinema, then obviously this is one to avoid. But if you are, then you most certainly will not be disappointed by his latest outing, as it is a continuation of the finely crafted level of excellence that we are used to from one of Japan's most accessible exports. Just prepare yourself, as on first viewing this one far exceeds the usual levels of violence that you may be used to from Kitano. Happily, his gory extremes here are an intrinsic element of the film's oeuvre, never exploitative, but an integral facet that drive this work forwards as it weaves its message, revealing a lighter side to his oft cold-hearted tales of crime, and ultimately chiseling a new face on his prior cinematic persona.

Review by M.C.Thomason