Getting to the end of the second of Arrow's Seijun Suzuki box set,I decided to take a peak at the detailed booklet before viewing the final title in the set. Excited from the details of this being a Western,I started having some shotgun blues.
View on the film:
Finishing the set, Arrow present the weakest transfer of the collection, with notable spots on the edges of the frame, and jolting frames that shake after hard cuts and wipes.
Continuing to build on his surrealist styling, directing auteur Seijun Suzuki reunites with his regular cinematographer of the era Shigeyoshi Mine for a open borders Western, where Suzuki and Mine criss-cross bright burning colours between the Wild West and modern society,which jump from traditional shoot outs to target practice of alarm clocks and modern-dressed outlaw bikers.
Continuing his long collaboration with editor Akira Suzuki (no relation) Suzuki continues to show an eye for filming outdoors with fluid camera moves running across the floor to the outlaws, which hit a ultra-stylised use of mirrors, as Suzuki creates two-shots with small mirrors reflecting the face of the second person.
Sending Ryoji into a sleepy lawless mountain town, the screenplay by Satoru Suyama,Takeo Matsuura & Yoshikazu Ishii has a chance to hit the bullseye on a off-beat Western, but sadly miss the mark by due to a sleepy casualness being given to Ryoji confrontation with the local outlaws, instead a much needed shot of urgency for the man with a shotgun.
View on the film:
Finishing the set, Arrow present the weakest transfer of the collection, with notable spots on the edges of the frame, and jolting frames that shake after hard cuts and wipes.
Continuing to build on his surrealist styling, directing auteur Seijun Suzuki reunites with his regular cinematographer of the era Shigeyoshi Mine for a open borders Western, where Suzuki and Mine criss-cross bright burning colours between the Wild West and modern society,which jump from traditional shoot outs to target practice of alarm clocks and modern-dressed outlaw bikers.
Continuing his long collaboration with editor Akira Suzuki (no relation) Suzuki continues to show an eye for filming outdoors with fluid camera moves running across the floor to the outlaws, which hit a ultra-stylised use of mirrors, as Suzuki creates two-shots with small mirrors reflecting the face of the second person.
Sending Ryoji into a sleepy lawless mountain town, the screenplay by Satoru Suyama,Takeo Matsuura & Yoshikazu Ishii has a chance to hit the bullseye on a off-beat Western, but sadly miss the mark by due to a sleepy casualness being given to Ryoji confrontation with the local outlaws, instead a much needed shot of urgency for the man with a shotgun.