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Tokyo Drifter (1966). Give a basic plot of a gangster story and hand it to Seijun Suzuki, then tell him to calm down a bit, and this is the result. Far from calm, this one uses color like an ADHAD kid uses a single crayon in an empty room that is all white. Each frame is like the kid gets a new crayon to play with. This movie has nothing to do with plot and everything to do with style. Suzuki warps film industry norms and conventions with the adept attention of a brilliant madman. Stunning stuff. Ashe.
derek
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Fate is my mistress, mother of the cruel abomination that is hope.
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