Terrific. Already writing & starring, Takeshi Kitano took over directing on this searingly violent, searingly funny policier when the original director fell ill. He’s been a triple threat ever since. Here, he’s a classic ‘Dirty Harry’ kind of cop, flaunting rules but getting results beating out confessions & info from suspects. But then, he beats up just about everyone to get what he wants. Only his mentally unstable sister is off limits. Just now, a fresh murder and a drug syndicate are getting his attention as he drags a newly assigned rookie around with him. And the stakes only get raised when a buddy cop, fingered as a mob drug supplier, turns up dead. Suicide or rub out? Kitano turns every confrontation into a violently comic set piece, sending up action tropes while simultaneously working the shit out of them. It’s deliriously effective. But shortly after the halfway mark, the laughs start to stick in your throat. And once his unfortunate sister becomes involved, the tone turns very dark indeed. Not exactly serious, more tragic/absurd. Masterly work from a novice, with Kitano balancing fast changes in tone while fully servicing the action set pieces as if he’d been doing this for years. A great laconic presence, too; never missing a laugh. Plus a twist ending for our rookie cop you won’t see coming.
SCREWY THOUGHT OF THE DAY: In the looks department, Kitano could pass for John Garfield’s long lost Asian cousin. Same height, too, about 5 & a half feet. Little guys keep sympathy on their side no matter how bad they behave.
ATTENTION MUST BE PAID: Paid to the background score. Mostly electrified Erik Satie & reedy ‘Cool Jazz’ where you expect something more propulsive. (Satie working better than the Kenny G-like stylings.)
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