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![]() Tip of the Week Tattooed Life
Seijun Suzuki is one of the more prolific and still little-known
Japanese genre directors; that is, if you don't count the filmmakers
who are pilfering from movies like "Branded to Kill," "Tokyo
Drifter" (both on Criterion DVD) and this 1965 gem. In the climax of
this period yakuza entry, a swordfight inside a teahouse is etched with
brevity and clarity, and there's at least a half-dozen cuts, framings
and spatial notions that find themselves expanded upon to extravagant
length in "Kill Bill." Los Angeles Times critic Manohla Dargis has
described the "frenzied, voluptuous excess" of Suzuki's work, yet no
matter how mannered, or how eccentric the color schemes, Suzuki's work
feels emotionally authentic and responsive to the outlandish onscreen
goings-on. (One of the antagonists of "Tattooed Life" wears red patent
leather Wellington boots which we see close-ups of often, with no
explanation offered for his fashionable preciousness.) Suzuki's a
practitioner of the purest kind of cinema: sensual, sensuous, hypnotic
eruptions of sound and image, of jagged, headlong widescreen images that
can exist in no other medium. 87m. "Tattooed Life" shows Tuesday at Facets at 7pm and 9pm. Also
showing as part of the Japanese Outlaw Masters series: Suzuki's 1958
"Underworld Beauty," Masahiro Shinoda's 1962 "Pale Flower," and
Yasuharu Hassebe's 1970 "Stray Cat Rock: Sex Hunter."
Also by Ray Pride Tip of the Week
Looking for Mr. Bad Cop
Passed is prologue
Short Runs
Acting out
Short Runs
Tip of the Week
Tip of the Week
Chemistry project
Precious moments
Short Runs
Tip of the Week
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