Outragedoesn’t reach the transcendent levels ofFireworks but still provides an effective look at the yakuza domain. It easily outdoes Zatoichiand Brother and represents an excellent return to form.
Similar to Nicolas Winding Refn’s Drive but on a much grander scale, the violence plays out with a surprising quickness that can be off-putting to some viewers. Kitano is already planning a sequel for next year, which is interesting since only a few characters reach the end credits. Regardless, this environment should provide fertile ground for him to continue to explore the rougher side of the criminal enterprise.
One of the best sequences has Otomo entering a sauna and quickly firing off six bullets, two for each of the three guys. It reveals his unflinching approach to the job while directing his moves right at the audience.
Outrage could easily become a monotonous, unending series of killings in lesser hands. Instead, Kitano makes the audience pay attention by consistently subverting expectations. Many characters play a key role, so it’s never clear who the protagonist actually is.
Otomo and his reliable younger associate Mizuno (Kippei Shiina) are the most likable figures, but even they betray friends and deal out cruelty. There are obvious antagonists like a corrupt cop and the Chairman, but they’re a product of the environment. Also, the plot is extremely complex, with the winners consistently shifting around to stay on the game board.
Once another guy becomes an enemy, he needs to die or will return seeking retribution. Honor and loyalty have no place in this world, so even long-time allies can become enemies in the blink of an eye.
Originally a comedy star on Japanese television, Takeshi Kitano (aka Beat Takeshi) rose to international fame as a director of yakuza dramas during the 1990s. He’s known primarily forSonatine and Fireworks (Hana-bi), which offered remarkable visions of violence and beauty.
His stunning long takes can resemble intricate paintings while his characters enjoy a brief respite from the ruthlessness of the real world. There’s little of that sanctuary in his latest work Outrage (Autoriji), a nasty depiction of yakuza life in the 21st century. The story opens with a striking wide shot of a large group of gangsters dressed in black as their leaders meet. These guys have sworn allegiance to their bosses, but it means little once the bullets start flying.
The problems start when the Chairman of the entire organization grows concerned with Ikemoto’s connection to the drug lord Murase (Renji Ishibashi). They’re sworn brothers, but it means little when the boss is questioning their business relationship. Hoping to save face without starting a war, Ikemoto employs Otomo’s group to use subtle methods against Murase. This is not a wise idea. One violent act leads to a bloodier retaliation, and the chain reaction leads to an all-out massacre.
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