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Dollsis a film of extraordinary beauty and tenderness from a filmmaker chiefly associated with grave mayhem and deadpan humor. That is to say, this is not one more Takeshi Kitano movie focused on stoical cops or gangsters. The title refers most directly, but not exclusively, to the theatrical tradition of Bunraku, enacted by half-life-size dolls and their visible but shrouded onstage manipulators. Such a performance--a drama of doomed lovers--occupies the first five minutes of the film, striking a keynote that resonates as flesh-and-blood characters take up the action.
The film-proper is dominated by the all-but-wordless odyssey of a susceptible yuppie and the jilted fiancée driven mad by his desertion to marry the boss's daughter. Bound by a blood-red cord, they move hypnotically through a landscape variously urban and natural, stylized only by the breathtaking purity of light, angle, color, and formal movement imposed by Kitano's compositional eye and rigorous, fragmentary editing. Along the way we also pick up the story of an elderly gangster, haunted by memories of the lover he deserted three decades earlier and generations of "brothers" for whose deaths he was, in the accepted order of things, responsible. Another strand is added to the imagistic weave via a doll-like pop singer and a groupie blinded by devotion to her.
This is a film in which character, morality, metaphysics, and destiny are all expressed through visual rhyme and startling adjustments of perspective. It sounds abstract--and it is--but it's also heartbreaking and thrilling to behold. Kitano isn't in it, but as an artist he's all over it. His finest film, and for all its exoticism, his most accessible.--Richard T. Jameson
lost lovers, Japanese style Matsumoto left his job on his wedding day to return to his true love Sawako, who in despair at his decision to marry another girl (the daughter of his boss) for parental approval tried to kill herself. She failed, and her attempt left her speechless, emotionally vacant, and prone to bizarre behavior like shoplifting. But he devotes himself fully to her, and throughout the film the two lovers reconnect not only literally but also metaphorically when, bound by a red cord around their waists, they wander together as "bound beggars" throughout the four seasons of the year. In a parallel love story, the old man Hiro reflects on how he left his girl for a job when he was as young (the opposite of Matsumoto's choice). He too reconnects since when he left decades earlier his lover promised to wait for him every Saturday with a box lunch. True to her word, Hiro finds her waiting, in the same dress and in the exact same place. In a third story, a famous pop icon Haruna is disfigured in a car accident, and agrees to meet an infatuated groupie, Nukui, who blinded himself out of devotion to her. Tragedy, tenderness, devotion, and brutal murders characterize all three stories. Dolls was an official selection at film festivals in Toronto, London, New York, and Cannes. The visuals in this film are stunning, but I am sure that the cultural subtleties and symbolism are lost on viewers like me who do not understand Japanese culture well enough. In Japanese with English subtitles.
Poetic And Visually Stunning: Love And Anguish! WARNING: This Is Not A Film For Everyone. Some may find the film pretentious or vacuous. However, it is not! "Dolls," by director Takeshi Kitano, along with the terrific cinematography of Katsumi Yanagishima, is a wonderful film. The use of seasonal changes is both poetic and powerful. The film opens with a Bunraku puppet theatre performance and segues into three stories. These stories deal with love and the meaning of life. And although the film is slow paced, it does not detract from the meaning or beauty of this terrific film. If you are looking for action, look elsewhere, this film is not about that. This is a film about three stories of regret, sorrow, loss, and sadness to name just a few themes.
Moreover, the cinematography in the film is very much a part of the film, just as the characters themselves are. The more I have seen of Takeshi Kitano's films, the more and more I have become impressed with his work. Unlike many of Kitano's past films, where violence is a major theme, here you have an introspective film with metaphors, symbolism, and tragedy which hides behind each of the characters. And each of these stories weaves a tale imbued with a regret and sadness that will not leave you feeling happy: Yet it will make you think about the meaning of life.
Also, I was really impressed with cinematographer Katsumi Yanagishima; and especially the way he was able to use color as a visual representation of the seasonal changes. These powerful representations of the color spectrum enhanced the film tremendously, and were just stunningly beautiful. This is definitely a very emotionally draining film, but one that is well worth the purchase. This is just a small part of what this film gives the viewer. This film was presented at the Venice film festival, where it did not receive any good reviews. Moreover, it was pretty much trashed in Japan too. But you should not let this deter you from viewing this film; I will admit that this is not a film for everyone; but everyone should at least take the time to see this film at least once in their life. Recommended with extreme caution. Rent it first.Not Like A Throwaway Barbie, These "Dolls" Are Collector's Items To Be Cherished I went into "Dolls" only vaguely aware of what it was. I remembered its theatrical release, but nothing about the movie specifically. I was, therefore, taken completely by surprise by this magical, beautiful, haunting, sad movie. Dealing with the themes of love, loss, and sacrifice--I was amazed that this quiet tale packed such an emotional punch. Ostensibly, the film seeks to blend the aesthetic of classic Japanese puppetry with modern day sensibilities. Not knowing much about the art of Bunraku, I can't comment on how effective this was. However, the film as a film is definitely noteworthy.
The plot follows three separate stories. The primary action revolves around a young couple. Once engaged, the young man left the young woman and drove her to attempted suicide and madness. When discovering this, he abandons everything in life to be with her even though her mind is gone. They wander the countryside tied together, destitute, silent. It's a powerful story of love and commitment--almost wordless and completely unique. Other story threads involve a pop singer who becomes disfigured and an aging Yakuza boss reconnecting with a lost love. With much simplicity and beauty, elements in each story will make you smile and then break your heart.
Whether or not you like "Dolls," no one can deny its visual appeal. This is one of the most technically astute films that I have seen in quite some time. It is an absolutely gorgeous moving canvas of colors and images. The cinematography and art direction are impeccable and every scene is memorably constructed. The sometimes surreal quality of the procession creates a tangible mood--sad and haunting. The color palette adds artistry and interest. And the construction of the film, its editing, also enhances the story. The interwoven storylines and the dynamically inserted flashbacks are used to great affect.
I know there are some people (including a friend of mine) who finds this film dull and/or pretentious. The film's pacing is methodical, but I was fascinated not only by the beautiful imagery but by the haunting storyline. And I am not a fan of being self-consciously "arty" to no purpose, but I found lots of depth, feeling and meaning to this work--its "arty" nature, for me, served the film well. It's even more impressive that the film, while minimalist, could create such strong and lasting emotions in the viewer. The film lingers in my mind, I have thought of it often. That's a huge compliment--I'm not necessarily an emotional audience, so anything that makes a real connection with me earns my respect.
I recommend this film wholeheartedly. Not necessarily for mass audiences, but lovers of film will have much to admire within "Dolls." KGHarris, 12/06.
