Back in the V cinema era, to put it lightly, Takashi Mike was incredibly bonkers. Not in the human sense, but in the creative way, the images and ideas he produces can only come from someone who is completely out of his mind.
This is the man who directed the film which needed a few barf bags to be placed in some of the cinema screenings. This is the man who made a TV episode of a horror anthology that got banned for being too disturbing. This is the man who directed the most awesome cockfight ever filmed. The last one is debatable, but the point is, this is a man’s filmography that has never been witnessed without one thinking with befuddlement and interest.
With a man who has made so many gonzo works such as Fudoh: The Next Generation, Audition, Gozu, Ichi the Killer, and Visitor Q. Dead or Alive would rank somewhere near the middle in the gonzo scale. With V-cinema stalwarts Sho Aikawa and Riki Takeuchi as the leads in the old school cop vs criminal story, one knows Miike has something up his sleeve.
Dead or Alive begins with a stunning flashback of a newscast montage of the events happening in Tokyo with a woman committing suspected suicide while a dramatic male voice is stating the world has begun to choke on its own vomit. At the same time, corrupt police are snorting a long line of cocaine. And that’s just scratching the early surface of the insanity that is ‘Dead or Alive’.
This is essentially the barometer determining if the movie is suitable for you. In spite of all these peculiar traits, the plot is paradoxically straightforward: it is simply about cops and robbers and touches on themes like loyalty or brotherhood, and justice.
One of the most wonderful touches of the film of this bizarreness is the overriding quality of the ‘comedy’ in the film. Normally, the audience sympathizes or empathizes with characters regardless of whether the characters are criminals. In the case of Dead or Alive, it portrays the criminals for what they truly are: the scum of the earth.
Let us not forget how Can You Keep A Secret receives a very dry and harshly critical interview, with people even considering it undefined art. And these descriptions are not the most absurd part about this world-people can be exceptionally dismissive. These very cult classic records are highly acclaimed through history, and throughout these very grotesque graphical sequences, we have some artistic beauty that is simply astonishing, and the actors involved did an incredible job at embodying the respective narratives.
Such absurd scenes do serve a purpose because they are powerful. Now, trying to address the question that was raised regarding the negative but informed review, there is no contest that there is substance to back the film up. The principal actors, Ryuichi and Kojima, seem almost overpowered; Jojima trying to outburden the grief for the lost brother and Ryuuichi saving the terminally sick daughter. And at least there is consolation in that Sho Aikawa and Riki Takeuichi have sympathy and empathy towards these characters. Both of them sides wished to understand the psyche of the characters and I guess enjoyed the over the top portrayals.
The supporting cast includes the familiar faces like Ren Osugi, Renji Ishibashi and other Miike collaborators who bring depth to their characters, relishing the opportunity to both pay homage to and utterly transform them.
There are more than a couple of errors that I believe should be pointed out and looked into. First, the structure of the movie is very erratic, especially when compared to the chaotic beginning and ending. Resting in the center, the second act could, for some, serve to be a minutes long and itchy nap.
For instance, the portrayal of female characters in the movie is frankly quite unsettling and is bound to rattle a fair number of people. This could be regarded as subtle jabs directed at Miike’s enthusiasts who delight in his over-the-top cinematic barbarism. It could or may not also be a critique on the overarching sentiment of male-dominated hate. One way or another, the message speaks for itself: vulgar feminism is unimaginably cruel and unforgivable. And finally, treats can also be a little divisive. Some people may find it laughable but many will find it dull and at times even obnoxious.
However, if someone were to explain Dead of Alive in one word, it would go like this “Gonzo. Unforgettable. Crazy. Silly. Bizarre.” And those words encapsulate what Dead or Alive is, in a nutshell. For those who are brave, this is the film that will leave you speechless, regardless of your preferences. I can assure you that.
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