Auf einer Mission für den Yakuzaboss Yauhara gelingt es ihm, den zweitbesten und den viertbesten Profikiller auszuschalten. [25][35], Branded to Kill first reached international audiences in the 1980s, featuring in various film festivals and retrospectives dedicated wholly or partially to Suzuki,[23][35][36] which was followed by home video releases in the late 1990s. [22] In a 1992 Rolling Stone magazine article, film director Jim Jarmusch affectionately recommended it as, "Probably the strangest and most perverse 'hit man' story in cinema. In diesem Film hat sich die ehemalige Nummer Eins aus dem Killergeschäft zurückgezogen und wird ehrenvoll als „Nummer Null“ bezeichnet. [17], Like many of its yakuza film contemporaries, Branded to Kill shows the influence of the James Bond films and film noir,[18][19] though the film's conventional genre basis was combined with satire, kabuki stylistics and a pop art aesthetic. At the apartment, Hanada finds a note and another film from Number One stating he will be waiting at a gymnasium with Misako. Branded to Kill (殺しの烙印, Koroshi no rakuin) is a 1967 Japanese yakuza film directed by Seijun Suzuki and starring Joe Shishido, Koji Nanbara and Annu Mari. The eight men had worked under the joint pen name Hachiro Guryu ("Group of Eight") since the mid-1960s. [58] It also had a profound impact, through Suzuki's firing and the resulting student uprising, in the beginnings of the movement film, usually underground or anti-establishment films which focused on issues of import to audiences, as opposed to production line genre pictures. [73][74] Yume Pictures released a new DVD on February 26, 2007, as a part of their Suzuki collection, featuring a 36-minute interview with the director, trailers and liner notes by Tony Rayns. "[6], After another unrelated 10-year hiatus, Suzuki and Nikkatsu reunited for the Style to Kill retrospective, held in April, 2001, at Theatre Shinjuku in Tokyo. [67], The first North American copy surfaced in the early 1990s at Kim's Video in New York in a video series titled Dark of the Sun devoted to obscure Asian cinema, assembled by John Zorn,[68] albeit without English subtitles. "[14], A student film society run by Kazuko Kawakita, the Cineclub Study Group,[33] was planning to include Branded to Kill in a retrospective honouring Suzuki's works but Hori refused them and withdrew all of his films from circulation. Daraufhin nimmt der berühmte Profikiller Nummer Eins mit ihm Kontakt auf. Branded to kill 1967Seijun Suzuki . [27] Madman Entertainment's Eastern Eye label released the film on DVD in Australia and New Zealand on May 2, 2007. Als Suzuki 1967 „Branded To Kill“ drehte, war er einer von zahlreichen fest angestellten Regisseuren bei Nikkatsu. [76], Forty years after the film's original release, on February 23, 2007, the Japanese record label Think issued the soundtrack on Compact Disc through its Cine Jazz series, which focused on 1960s Nikkatsu action films. Menu. Er erfährt dabei, dass Nummer Eins den Mord an Yabuhara begangen hat und Misako noch am Leben ist. An icon used to represent a menu that can be toggled by interacting with this icon. [69] The Criterion Collection released the film in the United States and Canada on laserdisc in 1998,[70] followed by a DVD on February 23, 1999, both containing a 15-minute interview with Suzuki, poster gallery of Shishido films and liner notes by Zorn. The music was culled from Naozumi Yamamoto's score. His belt buckle, however, stopped the bullet and he escapes the building. Hanada returns to Misako's apartment where a film projector has been set up. [26] Home Vision Cinema release a VHS version on June 16, 2000. Nummer Eins zieht schließlich bei Hanada ein, sie schließen einen temporären Friedensvertrag und schlafen und essen sogar gemeinsam. Branded to Kill. "[30] Nikkatsu Studios had been criticized for catering to rebellious youth audiences, a specialty of contract director Seijun Suzuki,[16] whose films had grown increasingly anarchic through the 1960s. [60] Reviews were of a favourable nature on par with its predecessor. [65][66] In conjunction with the 50th anniversary of Suzuki's directorial debut, the film was included in the first of two six-film DVD box sets which was released October 1, 2006. [2] In directing his actors, Suzuki let them play their roles as they saw fit and only intervened when they went "off track". Suzuki has said that the original intention was for Shishido to play the character again but that the film's producer, Satoru Ogura, wanted Hira for the role. Misako then appears at his door and offers him a nearly impossible contract to kill a foreigner, which he cannot refuse having just been told the plan. Ibid, pp. It featured 28 films by Suzuki, including Branded to Kill. A settlement was reached on December 24, 1971, in the amount of one million yen, a fraction of his original claim, as well as a public apology from Hori. He falls in love with a woman named Misako, who recruits him for a seemingly impossible mission. [64] Both versions were censored for nudity with a black bar obscuring half of the frame during the relevant scenes. Hanada submits to the demand but kills the killers instead. Branded To Kill ein Film von Seijun Suzuki mit Jô Shishido, Kôji Nanbara. 31 Min.196716. [77][78], Hachiro Guryu, or Group of Eight, is the joint pen name of. Reviewer Rumsey Taylor likened Hanada's boiled rice sniffing fetish to Bond's "shaken, not stirred" martini order. Suzuki suggested they drop the script but was ordered to proceed. It was a low budget, production line number for the Nikkatsu Company, originally released in a double bill with Shōgorō Nishimura's Burning Nature. Here the process was formalized into a rankings system obsessed over by its players. Branded to kill is a really unique and surreal thriller. Gangsterfilm | Japan 1967 | 91 Minuten. [46] The following year, the Tanomi Company produced a limited edition 1/6 scale "Joe the Ace"[47] action figure based on Shishido's character in the film, complete with a miniature rice cooker. En route Hanada spots an ambush. Bei seiner Veröffentlichung war Branded to Kill ein Misserfolg beim Publikum, woraufhin Suzukis Filmstudio Nikkatsu, die seinen immer surrealistischer und exzentrischer werdenden Filmstil schon länger kritisch sahen, ihn fristlos entließen. Hanada puts a headband across his forehead and climbs into a boxing ring. Number One appears and shoots him. She tries to seduce him, then fakes hysteria and tells him Yabuhara paid her to kill him and that the three men he had killed had stolen from Yabuhara's diamond smuggling operation, and the foreigner was an investigator sent by the supplier. Einem erfahrenen, aber krankhaft ehrgeizigen Yakuza-Killer mit dem Branchennamen "Nr. Goro Hanada, the Japanese underworld's third-ranked hitman, and his wife, Mami, fly into Tokyo and are met by Kasuga, a formerly ranked hitman turned taxi driver. Hanada kann die Todessüchtige allerdings zum Sex mit dem Versprechen verführen, sie anschließend zu erschießen. [75] For example, Japanese censorship often involved masking prohibited sections of the screen. This is Suzuki at his most extreme—the flabbergasting pinnacle of his sixties pop-art aesthetic. [4] It has been cited as an influence by filmmakers such as Jim Jarmusch, John Woo, Chan-wook Park and Quentin Tarantino, and composer John Zorn. They dispose of the body, then meet the client and proceed towards their destination. "[5] Japanese film historian Donald Richie thus encapsulated the film, "An inventive and ultimately anarchic take on gangster thrillers. The studio was unhappy with the original script and called in Suzuki to rewrite and direct it at the last minute. Hanada leaps and staggers around the ring declaring himself the new Number One. Doch besonders Jim Jarmuschs (dessen Gangsterfilme ebenso 'seltsam' anmuten und seine Obsession mit der japanischen … [71] Both companies conjunctively released Tokyo Drifter in all three formats in addition to a VHS collection packaging the two films together. Hanada ist dennoch die ganze Zeit angespannt. He dispatches a number of gunmen while Kasuga panics and flails about in hysterics. Er gilt als einer der bedeutendsten Yakuza-Filme. They specified that the script was to be written with this aim. Er ist einer der besten Killer, Killer No. [25] The femme fatale—a noir staple—Misako, does not simply entice the protagonist and bring the threat of death but obsesses him and is obsessed with all things death herself. [3][32] On April 25, 1968, Suzuki received a telephone call from a company secretary informing him that he would not be receiving his salary that month. The film was shot in black and white Nikkatsuscope (synonymous with CinemaScope at a 2.35:1 aspect ratio). The man wants to kill and feels nostalgic about the smell of boiling rice. Afterwards, he finds he cannot as he has fallen in love with her. Hanada agrees and the three go to a club owned by the yakuza boss Michihiko Yabuhara. This had earned him a large following but it had also drawn the ire of studio head Kyūsaku Hori. [38][39] It has been declared a masterpiece by the likes of film critic Chuck Stephens,[40] writer and musician Chris D.,[12] composer John Zorn[5] and film director Quentin Tarantino. Sakura madly rushes towards the client but is shot dead by him. Er liebt seine Frau Mami (Mariko Ogawa) und den Duft von kochendem Reis. Nummer Eins taucht zunächst über Stunden nicht auf, was Hanada in den Wahnsinn treibt. [21][27], The film industry is a subject of satire as well. [28], Branded to Kill was released to Japanese theatres on June 15, 1967,[29] in a double bill with Shōgorō Nishimura's Burning Nature. Suzuki employed a wide variety of techniques and claimed his singular focus was to make the film as entertaining as possible. Stories of Bastards: Born Under a Bad Star, https://en.wikipedia.org/w/index.php?title=Branded_to_Kill&oldid=997055194, Articles with dead external links from June 2016, Articles containing Japanese-language text, Album articles lacking alt text for covers, Articles with Japanese-language sources (ja), Creative Commons Attribution-ShareAlike License, "The Tape Recorder Has the Track of Destiny", Mariko Ogawa as Mami Hanada: Hanada's wife who has a predilection towards walking around the house nude. PISTOL OPERA OF DEATH!!! The film grew a strong following, which expanded overseas in the 1980s, and has established itself as a cult classic. [The] script flounders midway and Suzuki tries on the bizarre for its own sake. Teo cited Number One's sleeping with his eyes open and urinating where he sits, which the character explains as techniques one must master to become a "top professional."[7]. Misako, a mysterious woman with a deathwish, stops and gives him a ride. Misako tells him that he will now lose his rank and be killed. The budget was set at approximately 20 million yen. [10] The film was edited in one day, a task made easy by Suzuki's method of shooting only the necessary footage. Yabuhara hires Hanada to kill four men, the first three being a customs officer, an ocularist and a jewellery dealer. Eventually, Number One moves in with the now exhausted and inebriated Hanada under the pretext that he is deciding how to kill him. It included an interview with Seijun Suzuki, two with Joe Shishido, an Annu Mari photo gallery and the original film trailers for it and several other Suzuki films. Comment Report abuse. The former client arrives and announces himself as the legendary Number One Killer. We do not go to theaters to be puzzled. [3][14] Branded to Kill, along with other of his films, played to "packed audiences who wildly applauded"[34] at all-night revivals in and around Tokyo. The screen is obscured by animated images with accompanying sounds associated to her. He preferred to come up with ideas either the night before or on the set as he felt that the only person who should know what is going to happen is the director. This is Suzuki at his most extreme—the flabbergasting pinnacle … After the meeting, Yabuhara covertly seduces Hanada's wife. Most notably, Jarmusch mirrored a scene in which the protagonist kills a target by shooting up from a basement through a sink drain. [2] Critic David Chute suggested that Suzuki's stylistics had intensified—in seeming congruence with the studio's demands that he conform: You can see the director reusing specific effects and pointedly cranking them up a notch. The release was one of three linked to the Style to Kill theatrical retrospective. In a state of confusion he wanders the streets and passes out on the side of the road. Bei Rotten Tomatoes besitzt der Film eine Wertung von 100 %, basierend auf 22 Kritiken, mit einer Durchschnittswertung von 8,3 Punkten. Film critics and enthusiasts now regard it as an absurdist masterpiece. [33], Thirty-four years after Branded to Kill, Suzuki directed Pistol Opera (2001), a loose sequel co-produced by Shochiku and filmed at Nikkatsu. Reviewed in the United Kingdom on 1 April 2015. Schließlich schießt Nummer Eins auf ihn, aber Hanadas Stirnband stoppt die Kugel und er schießt zurück. 128–130. [10][49][50], As one of Seijun Suzuki's most influential films, Branded to Kill has been acknowledged as a source of inspiration by such internationally renowned directors as Hong Kong's John Woo, South Korea's Chan-wook Park and America's Jim Jarmusch and Quentin Tarantino. In the meantime, he subsisted on commercial and television work and writing books of essays. ", "Branded to Kill [Criterion Collection][Blu-Ray]". [72] In the United Kingdom, Second Sight Films released a DVD on February 25, 2002, and a VHS on March 11, 2002. Später kann sich Nummer Eins davonmachen und kündigt Hanada an, sich zu einer finalen Auseinandersetzung in einer Turnhalle zu treffen. Kasuga petitions Hanada to assist him in breaking back into the profession. [20] It was further set apart from its peers, and Seijun Suzuki's previous films, through its gothic sensibilities, unusual atonal score and what artist and academic Philip Brophy called a "heightened otherness". "Branded to Kill" has gone on to influence several directors such as Jim Jarmusch, John Woo, and Quentin Tarantino and has since held a status of cult film. He gave the film a satirical, anarchic and visually eclectic bent which the studio had previously warned him away from. Den Prozess auf Schadensersatz, der große Aufmerksamkeit erzielte, gewann Suzuki – allerdings geriet er auf eine Art Schwarze Liste und die folgenden zehn Jahre konnte er keinen Film mehr drehen, da alle großen japanischen Filmstudios ihn nicht beschäftigen wollten. Studio head Kyūsaku Hori told Suzuki he had had to read it twice before he understood it. Atsushi Yamatoya wrote the lyrics for the "Killing Blues" themes. Author Stephen Teo proposed that the antagonistic relationship between Hanada and Number One may have been analogous of Suzuki's relationship with studio president Kyūsaku Hori. Von Misako, einer geheimnisvollen Frau mit Todeswunsch, die tote Schmetterlinge sammelt, bekommt Hanada schließlich den ebenso wichtigen wie schwierigen Auftrag, einen Ausländer zu erschießen. The film's premise, in which hitmen try to kill each other in competition for the Number One rank, is spoofed in films such as Takeshi Kitano's Getting Any? He compared Hanada's antagonizers to those who had been pressuring Suzuki to rein in his style over the previous two years. [37] It garnered a reputation as one of his most unconventional, revered Nikkatsu films and an international cult classic. 3" passiert bei einem Auftragsmord eine unverzeihliche Panne: Er verfehlt sein Ziel. Yabuhara arrives already dead with a bullet hole through the centre of his forehead. (Ed Wood would have been in raptures.) [6] In American noirs, heroes, or anti-heroes, typically strive to be the best in their field. [62], Branded to Kill was initially made available in Japan by Nikkatsu in VHS format, first on February 10, 1987,[63] then a second version on June 10, 1994. Anschließend erhält Hanada weitere Aufträge von Yabuhara, die er zunächst erfolgreich ausführt. All six titles included audio commentary tracks featuring Suzuki with various collaborators, those being Annu Mari and assistant director Masami Kuzū for Branded to Kill. [13] Shortly before filming began, with the release date already set, the script was deemed "inappropriate" by the head office and contract director Seijun Suzuki was brought in to do a rewrite. [20][26] Hanada's libido is as present as that of the protagonists of similar films of the period, such as James Bond, though perversely exaggerated. Branded to Kill hat nach all den Jahren nicht an Frische und Innovativität verloren. Schaue dir alle 1 Videos jetzt an! (57)1 Std. Hanada holes up in Misako's apartment and Number One begins an extended siege, taunting Hanada with threatening phone calls and forbidding him to leave the apartment. Und so ergibt es auch Sinn, diesen japanischen Wahnsinn noch einmal aufzulegen und zwar in einer neu abgetasteten Version — eine Special Edition im wahrsten Sinne des Wortes, denn hier wird nicht nur ein Film neu vermarktet — nein, … It showcased all of his films. Hanada rennt verrückt durch den Ring der Turnhalle und erklärt sich zur neuen Nummer Eins. Due to the wide frame, moving a character forward did not produce the dynamic effect Suzuki desired. Shortly after meeting Yabuhara she enters an affair with him. [21] The result has been alternately ascribed as a work of surrealism,[22] absurdism,[23] the avant garde[21] and included in the Japanese New Wave movement,[24] though not through any stated intention of its director. Anschließend nimmt er erneut Kontakt mit Misako auf, die ebenfalls den Auftrag hat, Hanada umzubringen. [25] The film also deviates from the opening killer-for-hire scenario to touch on such varied subgenres as psychosexual romance, American Gothic thriller and Odd Couple slapstick. Nur mit Mühe kann Hanada aus dem Feuer lebend entkommen. [14] The rewrite was done with his frequent collaborator Takeo Kimura and six assistant directors, including Atsushi Yamatoya (who also played Killer Number Four). Suzuki was blacklisted and did not make another feature film for 10 years but became a counterculture hero.[3]. 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