Text/Rebirth Diary
Takeshi Kitano's classic gangster-themed work. Although the 1, 2 and 3 films are different in degrees of excitement, they all have excellent endings. This is also a consistent feature of Kitano Takeshi films. The end of the first part: The people who are used are dead, and the smart people who are good at using others laugh to the end. Part II: Smart people are also dead. Part III: The protagonist of the underworld, Kitano Takeshi, who is the protagonist of the God Block Killing God Buddha, is also dead. suicide. If there are children who want to learn from these movies what know-how to do the underworld, then the first one he tells the children: don't be used by others to do the underworld! Part II: Do the underworld don't take advantage of others! Part Three: Don't Be a Gangster. The third point is the most critical.
Also a gangster movie, this film was released about forty years after the release of the "Godfather" series. But frankly, these films are far from reaching the level of "The Godfather". The first is to kill people too arbitrarily. This kind of plot is probably designed to show strong and exciting movie visuals, or to cater to children's fantasies about gangsters, but in fact gangsters never kill people at random. Kill the other party, leave a blood vendetta, do not know when to use blood to repay; when the person who dies is not buried, it is often necessary to generously care for his family, otherwise the organizational strength, combat effectiveness, and loyalty of the entire organization will be greatly reduced, and the organization will not be far from extinction. Regardless of the random killing, it is also subject to pressure from the police. Even if a temporary escape can be achieved by bribing the police, the bribe itself can put pressure on the organization's finances. Judging from reason, the killing of the underworld is more of a deterrent to defend its own profiteering industries such as casinos, night clubs, and brothels. Therefore, it is usually not easy to kill people. In "Extremely Evil", the killing is too casual, especially in "Extreme Evil 3", Kitano Takeshi takes a little brother and an automatic rifle and sweeps the people full of people like leeks. From a general point of view, this scene shows a sense of distortion more than showing a lively killing. Because people with a little knowledge of thermal weapons know that automatic rifles can't hold so many bullets at all, the hit rate of strafing is generally very low, and they can't kill so many people. "The Godfather" also has a plot of directly shooting at the venue to sweep everyone to death, but it was swept away with a machine gun carried by a helicopter, and the killed enemy was far less than the two people in "Extremely Evil 3" who killed with rifles; "Breaking Bad" also has the plot of Lao Bai sweeping the enemy with a vehicle-mounted machine gun, using a machine gun instead of a rifle, and there are only a few people who are killed. The plot in "Extreme Evil 3" may only be to make the audience enjoyable, but it slightly damages the appeal of the movie. If it is changed to Kitano Takeshi shooting at the venue, the frightened underworld scattered and fled, some dead, but also a lot of escape, so that it is more real and more tense. Second, the plot is relatively thin. In particular, the behavior pattern of the underworld is too simple. If you want to solve a person, you must always allow the second-in-command to rebel with the territory and status, and then solve the second-in-command after the second-in-command has succeeded. If you want to solve two more troublesome people, then first prompt one of them to solve the other person, and then find a reason to expel this person from the specific subordinate, then the subordinate must have a grudge, then the subordinate will be killed by his superior, and finally solve the subordinate. Acting in three whole movies, this routine is used repeatedly by different gangsters, and it seems that they will only do this one way. And "The Godfather" is much richer and more three-dimensional in the way of solving people and solving problems. From this point of view, "Extremely Evil" is slightly thin.
In Extremely Evil Non-Dao 1, Kitano Takeshi is betrayed and almost all of his younger brothers are killed. His woman and his brother's woman were also killed, dressed in disheveled clothes and in a miserable state. Beautiful things are tragically destroyed – the few shots that shine on women are particularly tense and impressive. Unfortunately, the versions on many domestic websites have deleted these shots.
In general, this film is a Japanese gangster genre film with distinctive characteristics, and it is still worth watching.
Among the gangsters portrayed in the film, most of them only use a strong stereotypical boss image, but the most outstanding one is that he is not the "Zhang" of the gangster. Treat subordinates with benevolence and respect, and subordinates are willing to take the initiative to fight for them; they regard money as dung, and attach importance to love and rules. When dealing with the incident in which subordinates were killed and Hualing would come to apologize, whether he gave money or received money, it was far beyond the expectations of Hualinghui and convinced the other party; the most impressive thing was that the killer attacked, his life was in danger, he looked directly at the killer with his eyes, and there was no panic or fear in his eyes, but completely solemn and compassionate. Such a person has spiritually transcended life and death. Such a person is the real boss.
At the end, Takeshi Kitano avenges the boss and his brother. Li wanted to kill himself, and he did not have the slightest anger or grievance, but a calm face: "Li Jun, you don't need to do it yourself, I will come myself." He pulled it out and aimed it at his head, "banging" it, and the brain plasma splashed around.
Revenge must be repaid, righteousness is light, and Kitano Takeshi interprets what a pure traditional Japanese gangster should look like.
Many of the characters in the film are extremely masculine. Takeshi Kitano's films do have such a spiritual power, which clarifies what kind of man a man should be.