(2000) dir. Kitano Takeshi
I love Takeshi Kitano.
The man is a genius. He is a great screen presence, like a small, bemused, Japanese “Man With No Name,” a la Clint Eastwood’s spaghetti western film persona. He’s always on the verge of laughter or violence, yet he is almost always expressionless. One of those faces that it’s impossible not to project upon, yet impossible to comprehend.
As a director, I personally think that some of his films are brilliant, particularly Sonatine (1993), another film about yakuza who are taken out of their element. However, Sonatine‘s brilliance is not matched here, even though some similar ground is tread and like metaphors abound.
In Brother, Kitano’s character escapes from Japan, following a change in mafia family loyalty by his best friend. He winds up in L.A. with his half-brother who is a small time drug dealer on the fringe of the American mafia with his multi-cultural gang, of which, Omar Epps is a primary figure. Kitano winds up taking charge of thier operation and starts gunning for the top.
It’s certainly an area full of potential, the culture clash of the two strong forms of mafia is set against the personal culture clash between Kitano and the American culture, which tends to underestimate him.
The strongest moments occur during sequences in which Kitano and Epps are playing games with one another, Chinese checkers, simple dice games. The best moment occurs during a basketball game in which Kitano’s aide from Japan tries to play, but is not allowed to play.