In this film Takeshi Kitano shows his poetic and passionate side and gets rid of his usual laconic characters and noir style. In fact he describes three love stories between characters moved like puppets by events and by destiny (The film opens with Bunraku, the puppet used in the classical Japanese theatre).
The camera focuses on formal out of time beauty like nature’s but also on a sensation of death quite different from the violent one seen in his precedent films Brother and Sonatine. But maybe it’s an even more terrible death because it’s bound to happen and sudden, being the result of impulses, emotions and regrets.
The three love stories are pure, supreme, and tragic like the ones only Greek theatre can put on scene; such strong love which seems be out of the human world, and can be understood and achieved only in a superior dimension.
In the first story two young lovers see their dream of marrying destroyed because the young man has to go trough an arranged marriage: driven by desperation his fiancée attempts suicide. Even if she doesn't die, her psyche is damaged forever and can't speak and have a normal relationship with others. When he found out what had happened to her, he decides to give up everything for her love...
In the second part an aged and unhappy Yakuza boss, who has reached all his goals in life, seems to rekindle his love for the long-lost girlfriend he has left years ago to pursuit his dream of success. Because of an old promise they exchanged, she had always waited for him sitting on a park bench, every day. For all those years she has never accepted his adieu, so after having met her again he decides to sit near her every day, unable to reveal himself...
In the final story a fan obsessed with the pop-star Haruna goes as far as blinding himself only to please her. What strike the reader early from the first images are the beautiful natural landscapes, whose bright and gaudy colours contrast with the stillness of scenic action. In this way the film describes the passions more than anything, which are otherwise softened by gestures and words of the characters. So it's not by chance that the director uses nature portrayed in its autumnal period, because it represents a precise phase in love: the phase when feelings and emotions get deepened.
The colours of flowers are a means of depicting all the phases in which people come to know their feelings, which during the narration show themselves with all their tormenting intensity to the viewer. The camera focuses on formal out of time beauty like nature's but also on a sensation of death quite different from the violent one seen in his precedent films Brother and Sonatine. But maybe it's an even more terrible death because it's bound to happen and sudden, being the result of impulses, emotions and regrets.
Overall a truly masterpiece.
Takeshi Kitano © . All rights reserved
Here's the review of "Dolls" According the Staff of Nanoda: If you're foolish enough to not agree or you REALLY want to state your opinions, go ahead and express yourself and debate with the other inmates of Nanoda! ^_^
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