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SUMMARY

"Stray Cat" is the number 3 hit man in Japan.  She, like everyone else, wants to be number one, more or less.  Problem is, none of the other killers know who "Hundred Eyes"  is or he what looks like.  Still, it doesn't keep them from trying.

Sayoko, her agent, tells her that there is a shake up going on in the guild.  "Hundred Eyes" has stolen the "ranking" list and is killing everyone from number 2 on down.  The other pros are taking each other out, in the hopes that they can be the partner of "Number One".

Reluctant to do so, Stray Cat takes the job to find and eliminate "Hundred Eyes".  Her salvation may come in the form of Number O (aka The Champ), the infamous pro Goro Hanada!

DVD VISION TEST

VIDEO: This looks pretty much like a direct transfer of the original film.  While the image is clear and free of defects, it isn't as sharp as it could have been.  I think that since it was done on film, not digitally, accounts for the okay quality.

AUDIO: The Japanese 2.0 audio is pristine and clean, and very loud.  As this is a dialogue based movie, there isn't a real need for an aggressive surround sound mix.

EDITS: No edits have been made.  Everything is untouched.

EXTRAS: No extras, which is a shame.

WIDESCREEN REVIEW

STORY: This is the strangest film ever to be written by Kazunori Itoh. His script is one part drama, one part black comedy, and one part social commentary.  Your not quite sure what this film is trying to say, but it's a hell of a fun ride getting there.

ACTING: Majority of the film rests on Makiko Esumi's shoulders, and she does an excellent job.  Playing a warped variation of her tough as nails character from "Shomuni", her penetrating stare and deadpan delivery is the stuff pulp heroines are made of.

Sayoko Yamaguchi does the unthinkable, out sexes Makikio Esumi.  Her purring voice and the almost poetic way she moves is captivating.  Even when she speaks in "Nipponglish", it's damn sexy.

I can't tell if the rest of the cast are really good actors, or really bad ones.  So much of this movie is over exaggerated, that it's really difficult to determine if their goofy performances are by design or accident.

FAN SERVICE: Well, there is a brief female masturbation scene, but it's done fully clothed.  You see the cute Yeong-he Han naked on a couple of occasions.

There are tons of references to the first movie "Branded to Kill", both verbal and physical.

CONCLUSION

When it was announced that Seijun Suzuki was working on a sequel to his masterpiece "Branded To Kill", I was all over it.  A huge fan of "Koroshi No Rakuin", and of Makiko Esumi, I counted down the days until I would see "Pistol Opera".

When finaly watched this film, without subtitles, I was completely lost in this world of heavy symbolism and long winded speeches. When the movie was finished, I wasn't sure if Seijun Suzuki was a certified genius, or was just plain certifiable.  As much as I love his work, I was quite disappointed with the end result.

Perhaps my displeasure stemmed from the fact that I was expecting something along the film noir lines of "Branded To Kill", not the drug educed feel of "Tokyo Drifter". Perhaps it was that Mikijiro Hira was playing Hanada, not Joe Shishido.  Sure, Hira was good, but he lacked Joe Shishido's distinctive features or animal charisma.  Maybe my Japanese wasn't good enough to follow the long stretches of dialogue, heavy on the soliloquy.  What ever the reason, I vowed that I would give Pistol Opera another try, to see if age and wisdom would change my opinion.

Thanks to the progressive thinkers at "Media Blaster", they have brought "Pistol Opera" to the masses.  Armed with subtitles and a broader understanding of Asian cinema, I sat down and re-entered this bizarre world.

My general impression still hasn't changed.  Seijun Suzuki is either a certified genius, or he is just plain certifiable.  That doesn't mean it's a bad film, nor was I entirely disappointed.

"Pistol Opera" is the "End Of Evangelion" of Yakuza-Eiga.  Writer Kazunori Itoh's story isn't about "Stray Cat" climbing her way to the top of the assassin guild.  This is a tale about people who do not live in the same world as we do.  Right and wrong are abstract concepts they are not burden with.  Lies, deception, death, arrogance, and loneliness are the assassins life, and they are stuck with it.  This could have been about lawyers and the same themes apply.  Once you understand that, the film makes more sense.

When you add Seijun Suzuki's unconventional filmmaking to the mix, then you have a visual treat.  Surreal imagery, rapid fire cuts, deliberate lapses in continuity, and bizarre camera angles, it's all there.  Some have said that Suzuki has reached his artistic limit, but I am not one of them. I think that it's Kazunori Itoh's obtuse script that is the problem.  Once again, Suzuki is just trying to keep the audience from getting bored.  I wouldn't be surprised if that was the intention of "Pistol Opera" in the first place.

I'm not going to lie and say that this is a perfect movie.  Far from it.  It goes on about 20 minutes too long.  Several of the speeches have absolutely no point at all.  Billed as an action film, there is very little "action" to be found.  The creativeness that Suzuki showed in "Branded To Kill" is there, but it's not as unique.  If they had cut a couple of speeches, and added a little more action, then I think that the more people would get into it.

You do not need to see "Branded to Kill" to understand this movie.  In some ways, it's better if you don't.  The different actors for Hanada may throw you a little.  It's such a stark contrast from the first film visually, it doesn't feel like a sequel.

The cast is excellent, with Makiko Esumi carrying most of the film.  Her physical beauty is only matched with her intensity.  Her deliberate Kabuki-style moves remind me of a cat.  She uses not only her strong voice, but her body to speak volumes.

Sayoko Yamaguchi is a very interesting lady.  Coming from the fashion world, she knows how to make an impression.  Like she is always walking down the runway, her poise and beauty are in direct contrast to the world of death she lives.  Even when she is giving a long speech, her sultry voice will command your attention.

"Pistol Opera" is not a movie for the casual "chicks and guns" fan looking for their next "Zero Woman" fix.  It is a film for serious fans of Seijun Suzuki or the art house crowd.  It's also a good one for you "Kill Bill" fans to try out.  Keep an open mind, and you may become a Seijun Suzuki convert.

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