Lost in translation
When a stranger comes to a broken town, where two sides (White/Red) are warring, he offers his services to the highest bidder. Before he commits, he learns who each side is and what each side is willing to offer. Why would they need a single, barely armed individual like this? Simple. He could tip the balance of the two sides and almost ensure ultimate victory for one side.
Sukiyaki Western Django (tough name to memorize) is a unique film to say the least. The biggest compliment that I could possibly give to it is that it reminds me of a combination of ‘westerns’ I studied when I was an undergrad in college. More recently, it reminds me of Pale Rider. Clint Eastwood is a preacher who comes to find job and spread the good word. He somehow gets in the middle of squatters and business men who have been fighting to the point of death. When he intervenes, reluctantly, he finds himself offered a job from both sides, but ultimately goes his own way. This is almost how Sukiyaki Western Django plays out. I have to give it major kudos for that.
Other kudos have to be given to how it was shot. Somewhere between John Woo and Stephen Chow’s visions lie the vision of director Takashi Miike. There are moments of seriousness and those of goofiness. There are also moments of extreme overacting, which is prominent in asian film (which is fine, I couldn’t imagine asian film without it). He introduces the clans of White/Red in spectacular fashion, through the introduction of the main gunman (named Gunman). He also gives each important character a healthy background and shows it visually; that’s certainly something that American cinema lacks severely on quite a few movies. Typically, you don’t want to over explain your story, but it’s a welcomed sight here in Sukiyaki Western Django.
You also have to give props to the actors and actresses, with exception to one. They poured their hearts and souls into a film that was probably rather difficult to make. Asian film isn’t scattered with ‘westerns’ as American film hasn’t been in recent years. It’s a shame, but it’s true. They all took on unfamiliar roles that seemed to fit perfectly with the asian style. It’s quite impressive to watch.
Now, what’s not impressive to watch comes in two-fold: 1. Quentin Tarantino 2. English
The reason I had a tough time with reviewing this film is that it was incredibly difficult to keep up with the story due to language usage. I didn’t want to sound like an ass by saying the english in this film was atrocious, but it was difficult to keep up with. I would have rather seen it in Japanese with english subtitles, that would have suited it better. I understand that Miike probably wanted this to be a unique experience for viewers, as well as actors, by doing it in english, but it truly hurts the story. Now, in regards to Quentin Tarantino’s appearance, I’ll say this only once: Please stop acting. Much like Sofia Coppola, you don’t bring anything to the film when you’re starring in it. Sure you slid by in other movies, like Pulp Fiction, From Dusk Til Dawn and a few other films, but you had a strong supporting cast. You belong behind the camera and solely behind the camera, unless you’re playing yourself on screen (which you’re not in this film). So, please don’t do this anymore.
Red, White and Blu-ray
The movie looked great on DVD, but it looks near perfect on Blu-ray. Truly, it encompasses what 1080p and 5.1 Lossless sound should and represents the format quite well. The artistic style of the film lends so much to the Blu-ray format that you’ll appreciate the locations, the colors and the different ways it was shot. Blu-ray enhances the experience and the movie itself.
As for the features, you still get a little bit more on Blu-ray, but not much. You’re looking at BD Live (which is a budding and underused technology) that brings a bit to the table. You get some deleted scenes as well (which don’t help or hurt the story, but are nonetheless interesting) and you get a very well done ‘Making of’ featurette that actually does help the story and what they were shooting for (no pun intended).
Other than this, you also get a digital copy of the film, which I completely support the MPAA encouraging for future releases. It only helps the film industry when you’re giving folks the option to transfer the movie to their machines.