Agitator: The Cinema of Takashi Miike by Tom Mes

By Tom Mes

This version contains a new and elevated color part, thoroughly up to date DVD details, and several other fresh studies of Takashi Miike motion pictures that have been unavailable for assurance on the time of the book's preliminary construction.

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Agitator: The Cinema of Takashi Miike

This variation contains a new and improved color part, thoroughly up-to-date DVD details, and several other fresh experiences of Takashi Miike movies that have been unavailable for assurance on the time of the book's preliminary construction.

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The bribe money habitually goes to Tatsuhito’s parents, particularly to pay for the treatment of his father’s pneumonia. It’s one of the few things that still connect him to his family, whose three children have gone their decidedly separate ways. Tatsuhito has a sister whose existence is only glimpsed frbm a letter and a photograph of her and her i n f a n t s o n . H i s y o u n g e r b r o t h e r Y o s h i h i t o ( S h i n s u k e Izutsu) i s a l a w y e r a n d t h e u n e a s y , antagonistic relationship between the two isestablished whenYoshfhito gets Ritsuko released from detention.

When Masaki’s right hand man Miyagi brings tfiem a supply of food, a T6do hitman enters the house behind him. The intruder kills the threesome but spares Miyagi, who did little to defend his colleagues and gets away with only a shot wound in the thigh. The reason for this soon becomes clear: Miyagi has made a deal with the Takeda group and is feeding them information on the whereabouts of top Daimon members. This allows Masaki’s rivals to get to him by using his weak point: his friendships with a number of non-yakuza people, which include mechanic Atsushi (Yoshiyuki Omori), printer Nagase and bar hostess Akemi.

Part 3 even contains two explicit winks at other al arts genre. The opening scene is an imitation of n film (complete with wirework and murky cinematoang L e e ’ s kidnapping inexplicably involves the bikers dress‘, ’ Btg up as the characters in Quentin Tarantino’s Reservoir Dogs (1991) and strolling out of their hide-out in a carbon copy of that film’s credit sequence (with Tomio Terada imitating CHAPTER 3 IThe WeoYears (films 1991- 1995) 57 I f Shinjuku Outlaw can be regarded as the first work of Miike as an artist, then Da&n No Gokud6 (1995) [lit: The third gangster] must be seen as the first film in which he integrates elements from his personal experiences.

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