Who is Beat Takeshi?
A live version of "Ghost in the Shell" featured Takeshi Kitano. Some might argue about the lack (or absence) of mystical elements that led this manga to a cult following, but Kitano was an iconic figure. In fact, one film critic called him the true successor to Akira Kurosawa. He was right, as both Kurosawa and Kitano became household names when their works were honored in international film festivals.
Kitano started his career in comedies, who was first called Beat Takeshi. He would be known for his depiction of the Yakuza in modern-day Japan. This was one of the things that drew Quentin Tarantino to the Far East, even attempted to make it on his own (in "Kill Bill"). Some would point out Tarantino's stylish imitation, which couldn't capture the Eastern sensibilities that Kitano subtly shown in his long takes. The Japanese people are generally gentle and courteous, yet there would be a brooding side somewhere. Haruki Murakami never expressed it better in his novels on isolation on urban communities (in Japan). But there would be something else. Kitano was like an auteur in his own works, his characters often saying little. However, foreign viewers couldn't help but be amused at those idiosyncratic moments. The locals should find it natural, but there was something about it that gave some members of the audience one good reason to visit the Land of the Rising Sun.
Kitano's nihilistic tendencies were first seen in "Violent Cop", but he wasn't another John Woo in the making. "A Scene at the Sea", for instance, showed his tender side. Kitano might be a secret fan of John Wayne, but he wouldn't reveal it. Three films sealed Kitano's legacy:
Hana-bi (Fireworks). Kitano penned the most complicated, if not insightful, story about an erring man wanting redemption. Alas, society may be too judgmental. A second chance doesn't have a place as well. Kitano's stoic appearance had never made such a huge impact on the audience; Yoshitaka Nishi's wife was suffering from leukemia while struggling from the death of their child. Horiba, his colleague, became suicidal after a tragic accident in a detention (involving Nishi). Art would be the saving grace for both of them, but only the rich could afford it. Nishi, who wanted to break his ties from the mob, didn't think twice of committing a crime. Joe Hishaishi's score revealed compassion, if not a plea for understanding. Kitano's face may be glum to such a thing, which should be a sign of hope. But many people take such things for granted.
Kikujiro. This charming comedy drew mixed reactions from the foreign audience, but they never knew that this could be Kitano's most personal film. The title would allude to his late father, of what Kitano would do if he had one more chance of spending time with his old man. In this case, a lonely boy looking for his mother. And a middle-aged rascal who became his unlikely companion. Most road trips would be a life-changer for the characters who are part of the journey, but "Kikujiro" would be an exception. Kitano wanted to relish every moment, even if some were nonsense to non-locals. This would be life must be all about, though.
Zatoichi. Tales from medieval Japan included courageous swordsmen who lived by the road. They were solitary figures without a warlord looking out for them, but the peasants were let known of their commanding presence when there was trouble. Zatoichi was a blind man, but legends told of the most-skilled swordsman during his time. There have been many movies about him, but Kitano gave this character the flair that made him a colorful character as well. Some might suspect the comedian/director of doing a loose version, but there won't be any rules in good entertainment.
