But "Big Brother" is an excellent work in Kitano Takeshi's directorial career. The unique mirror language of Kitano's style in the film is used very skillfully, and the rhythm is also well grasped.
I forgot which famous person gave this definition of beauty: the most economical attitude of action.
I have always wanted to use the word beautiful to describe Takeshi Kitano's violent images, but due to his resistance to brutality and bloodshed, it is difficult to associate naked killing with beauty. Suddenly I remembered the above definition of beauty, all the consideration disappeared without a trace, and finally I can justly say that Kitano Takeshi is beautiful.
Takeshi Kitano's violent actions are too economical to waste a picture, save as much as possible, and even save the process, and jump directly from the cause to the result, the black people in the street find fault in "Big Brother", a close-up of a wine bottle , and then a bloody eye, which is too economical, in other words, too beautiful.
From the storyline alone, Takeshi Kitano spent the least amount of time on "Big Brother". I estimate that the script is easier to write than the prose-style "The Tranquil Sea That Summer", and the advancement of the sphere of influence is like a game level. It was blunt, but the boss of Kitano was inexplicably engaged in Duan Duanlian, which made it very abrupt, and the little brother who smashed his head to make a promise to himself also ran from Japan to Los Angeles, which made me I also thought that the phenomenon of the brain drain of the underworld in Japan was particularly serious.
"Big Brother" wins in the way of masculinity in the east, and the sanctimonious Western gang style. The extreme subtlety will make the publicized Western gangsters stunned. It's very puzzling, even with a comrade complex, it's hard to explain. To be honest, there are not many such things in traditional Chinese martial arts dramas. In this regard, Kitano can only be regarded as a disciple who can become a teacher. In fact, I saw a lot of Zhang Che's things from this film. Could it be that Beiye and Zhang Che have a leg behind their backs?
The emotional tone of the film continues Kitano's consistent characteristics. From "Beware of the Police" to "Fireworks" to this "Big Brother", it has been sticking to something called Tie Han Tenderness. Yamamoto made a delicate footnote on the birthday gift that Yamamoto gave to his black brother’s mother, but Yamamoto left a bag of US dollars for his black brother before he died, which seemed to be very deliberately moved. It means that the big guy Yamamoto has achieved immortality.
In terms of video style, it is more mature than "Hua Huo". It should be quiet, jumping and jumping, and the sharp switching is just right. The quiet close-up of the characters, the empty mirror that omits the process, and the instant violence are all very admirable. . I highly admire Kitano's "no nonsense" lens language, which is a free and easy and decisive, simply vigorous attitude.
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