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I actually just finished watching "Jugatsu" and have to say that its one of the more confusing Kitano films....certainly the character he plays in it is certifiable (as you could probably conclude from studying that photo...)

Jugatsu?

You mean "Boiling Point"?

Froggy placemarker

Boiling, frog, humor, or a small attempt.

Yes, 'Boiling Point'. Its interesting watching his filmmaking *EVOLVE* from early films like the stripped-down "Violent Cop", throught *TRANSITIONALS* like "Boiling Point", where the story is still a bit slow and hard to follow, but there is foreshadowing of his later cinematographic greatness - your first start seeing those beautiful nature vistas (especially the beach, which he later expands on in "Sonatine").

I must say that I found his character in 'Jugatsu' alternatively hilarious and disturbing.

I think that, from a pure perspective of 'painting with the camera' - which I think is one of Kitano's greatest abilities, I like 'Hana-Bi' the best. When you see his paintings (which are prominently featured in the film), you realize where that talent of perspective and color comes from. You have to see his films on an HDTV or you miss all the subtlety and understated action in all of his distant shots (as you may have noticed, none of his shots are 'wasted', and even the sometimes (for American eyes) long static shots of individual characters are absolutely pregnant with tension so that they become amost hypnotic waiting for the something to happen. For example, the scene in 'Violent Cop' where the hitman is standing at attention in front of the Yakuza boss sitting behind his desk, as the boss berates him; I found it almost too difficult to watch as the boss sits there quietly steaming watching him - shot from the boss's sightline, with the hitman's torso visible only - the tension is so palpable you could cut it with a knife.

By the time he makes 'Brother' he's become a master, and that is my favorite gangster film period. He plays Aniki with "subzero cool" as one reviewer wrote.

"Zatoichi" is, of course, his absolute masterpiece. The film is layered like a dobos-torte - every time I watch it I see something I didn't notice previously - the detail with which he sets up the foreshadowing of various later events - which you will inevitably miss the first time through - is the work of a true master. Since no one will see it the first time around, most directors wouldn't bother even putting such scenes in....