The Japanese director is beloved by modern masters such as Jim Jarmusch and Park Chan-wook.
The crime movie belongs to a genre that has been constructed, deconstructed, and reconstructed essentially since cinema began. In that canon, one of the most unique entries has to be Seijun Suzuki's 1967 yakuza film, Branded to Kill. Following Japan's third-best hitman on an odyssey through the crime underworld, Branded to Kill gleefully disavows the tried and true rules of the genre in favor of bold experimentation.
Seijun Suzuki Subverted the Classical Genre Film Tropes To understand Branded to Kill, one must understand the landscape of the genre film at the time. Today, noir films constitute some of the greatest films ever made, with masters like Billy Wilder, Louis Malle, and Akira Kurosawa all staking their claim in the genre. At the time, they were considered genre fodder, the way horror movies were considered broadly until very recently.
Instead of gritty fight scenes, Goro escapes shootouts by jumping on passing balloons or shooting people through pipes. Suzuki cuts to bodies flying off buildings we didn't know existed, dead men opening doors, and burning men sprinting through fields, only to be shot through windshields that never seem to break. The villain, The Number One Killer , handcuffs himself to Goro like it's a sitcom B plot and openly flaunts his ability to urinate anywhere as proof of his hitman bona fides.
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