Takeshi Kitano — also known by his stage name Beat Takeshi (北野 武, Kitano Takeshi; born January 18, 1947 in Tokyo) — is considered one of the greatest film directors of all time. He first became famous as a comedian, although by Western standards his humor doesn't necessarily come across as funny.
During the filming of Violent Cop, in which he had been cast only as an actor, the original director suddenly withdrew. Kitano stepped in, saying: “I’ve never done it before, but I want to try.” The result was an intense film that already contained the themes of his later, more mature works — though not quite a masterpiece yet.
His artistic growth continued with A Scene at the Sea, marking the beginning of a remarkable collaboration with composer Joe Hisaishi, also known for the Studio Ghibli soundtracks. The film is silent and features two deaf protagonists, placing it in a category of its own. Also unmissable is Sonatine.
Paradoxically, Kitano’s finest work emerged only after he had hit rock bottom, echoing the Japanese art of Kintsugi, which fills cracks with gold.
After the absurd comedy Getting Any?, Kitano suffered a severe motorcycle accident while driving drunk. His long recovery left him with partial facial paralysis, giving him his characteristic expression.
Upon returning to directing, he created the masterpiece Kids Return, essential for understanding his personality. The film is largely autobiographical: his beginnings as a comedian, his youthful closeness to the Yakuza, and his time practicing boxing. Kitano splits himself into two — perhaps even three — characters to portray different aspects of his own life.
He then directed the deeply emotional Hana-BI, linked to the paintings he created during his recovery. Should we be surprised by all these talents?
Not really: Musashi, too, was a poet and a painter (“study all arts” — The Book of Five Rings).
This leads to the poetic and slightly surreal Kikujiro (1999) and the wonderful Dolls, a film about Japanese society and human relationships, immersed in a uniquely Japanese aesthetic of pain, referencing the red string of fate.
Finally, Dolls features extraordinary cinematography. I once read that Kitano “didn’t miss a single shot.” It truly is a perfect film.
To be continued…
