Of all the directors who have plundered the legacy of Jean-Pierre Melville for superficial treasure, Takeshi Kitano has always been the most intelligent, the most alert to his metaphysical drive. 'Brother', Kitano's mostly marvellous new feature, is imbued with all things Melville, from the opening silent wandering of Yamomoto, like Jef in 'Le Samourai', to the muted blue colour palette, faceless glass buildings and grey ritual beach of 'Un Flic'
Most pertinent, however, is Melville's under-rated 'Deux hommes dans Manhattan', which also starred the director. Like that film, 'Brother' is Kitano's first American film, his first cultural work in the country of origin of the urban genre he has made his own. And like Melville, instead of dealing with this country, Kitano seems to have become more obsessively Japanese, more interested in ritual, nation, Eastern philosophy. In other words, Kitano has taken foreign money to make an uncompromisingly personal film which, like 'Boiling Point' and 'Kids' Return', turns the gangster film into a rite of passage.
Most pertinent, however, is Melville's under-rated 'Deux hommes dans Manhattan', which also starred the director. Like that film, 'Brother' is Kitano's first American film, his first cultural work in the country of origin of the urban genre he has made his own. And like Melville, instead of dealing with this country, Kitano seems to have become more obsessively Japanese, more interested in ritual, nation, Eastern philosophy. In other words, Kitano has taken foreign money to make an uncompromisingly personal film which, like 'Boiling Point' and 'Kids' Return', turns the gangster film into a rite of passage.