{"id":38064,"date":"2025-10-13T18:16:39","date_gmt":"2025-10-13T16:16:39","guid":{"rendered":"https:\/\/husbands-paris.com\/en\/?p=38064"},"modified":"2025-10-13T18:16:39","modified_gmt":"2025-10-13T16:16:39","slug":"kitano-three-movements","status":"publish","type":"post","link":"https:\/\/wpadmin.husbands-paris.com\/en\/journal\/kitano-three-movements\/","title":{"rendered":"KITANO, THREE MOVEMENTS"},"content":{"rendered":"\n
\n
\n
\n

The son of a house painter and a factory worker. Golden Lion, Silver Lion, Knights of the Arts and Letters, Legion of Honor. Director, actor, painter, poet.T akeshi Kitano is the total artist of a certain Japan. Yakuzas, family men, children, compose a cinema of absence.<\/p>\n\n\n\n

Designer Yohji Yamamoto tells it thus:<\/p>\n\n\n\n

\u201cTwo padded kimonos, one for a woman and one for a man, were made using Yuzen dyeing by Chiso, an old Kyoto Yuzen company formed in the 16th century. They cost more than 10 million yen. I paid for everything myself. But my relationship with Takeshi is not about money, but a friendship between two men. It is a spirit of generosity and chivalry. And thus, “Dolls” was released in 2002. Although it did not set a box-office record, it is apparently being used in art schools around the world as a teaching tool for the use of color. It holds important memories for me as well.\u201d<\/p>\n\n\n\n

Dolls <\/em>draws its inspiration from the japanese bunraku <\/em>theater: giant puppets playing the four seasons of endless love. Kitano grounds them:<\/p>\n\n\n\n

\u201cWhen I was still an aspiring actor in Asakusa, I once saw a man and a woman tied together by a rope. The locals called them \u2018wandering beggars\u2019. There were a lot of rumors about them, but nobody really knew how they had become vagrants. The vision of the wandering beggars has remained engraved in my memory, and I have always wanted to make a film with characters like them.\u201d<\/p>\n\n\n\n

It is however as a comic, then as a comedian that Kitano\u2019s career began: he plays the sergeant to David Bowie\u2019s imprisoned colonel in Merry Christmas Mr Lawrence<\/em>, a policeman or a killer in the films of Ry\u016bchi Takamori or Y\u014djir\u014d Takit. It is by the serendipity of an illness that he becomes a director, replacing one in an emergency. From his days as a comic, he keeps the nickname of his duo: the manzai <\/em>\u201cThe Two Beats\u201d became \u201cBeat Takeshi\u201d.<\/p>\n\n\n\n

Directing fits his taste for retreat. Kitano cauterizes emotion, narrows down narration, streamlines dialogue. Hoarse voice, tight lips: in Sonatine<\/em>, his character commits suicide in a rictus. His countenance and clothes then become the way to read him. In Violent Cop<\/em>, a grey, white, and black tweed blazer with low notch lapels grows tattered from chase to chase; in Boiling Point<\/em>, a flowered shirt and double-striped jacket undo the character\u2019s coldness; in Sonatine<\/em>, a white shirt.<\/p>\n\n\n\n

Yamamoto designs the costumes for three of his films:<\/p>\n\n\n\n

for Brother <\/em>– a black three-button with wide volumes, a camp-collar white shirt. for Dolls <\/em>– boiled wool, a fine synthetic prussian blue shirt. <\/p>\n\n\n\n

for Takeshis\u2019 <\/em>– a slim black suit with frank shoulders, an oliver rain poncho<\/em>.<\/p>\n\n\n\n

In Hana-Bi<\/em>, Brother<\/em>, Takeshis\u2019<\/em>, and on the red carpet, Kitano wears sunglasses inspired by those of the anarchist Peter Kropotkin.<\/p>\n\n\n\n

In his autobiography, My Dear Bomb, <\/em>Yohji Yamamoto writes: \u201cIn the places where he wants a message to get across, he intentionally does not insert that message.\u201d<\/p>\n\n\n\n

\n
SUITS & JACKETS<\/a><\/div>\n<\/div>\n<\/div><\/div>\n<\/div>\n\n\n\n
\n
<\/span>\"Brother,
\n

KITANO, Takeshi, dir. Brother. 2000.<\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"Dolls,
\n

KITANO, Takeshi. Dolls. 2002. <\/p>\n<\/div><\/div>\n\n\n\n

\n
\n
<\/span>\"KITANO,
\n

KITANO, Takeshi. dir. During a fitting.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

\n
<\/span>\"\"
\n

OSHIMA, Nagisa, dir. Furyo. 1983.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n

<\/span>\"Dolls,
\n

KITANO, Takeshi, dir. Dolls. 2000.<\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"Sonatine,
\n

KITANO, Takeshi, dir. Sonatine. 1993. <\/p>\n<\/div><\/div>\n\n\n\n

\n
\n
<\/span>\"Takeshis',
\n

KITANO, Takeshi, dir. Takeshis’. 2005.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

\n
<\/span>\"Violent
\n

KITANO, Takeshi, dir. Violent Cop. 1989.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n