^Some of the exposition was outright terrible. (I'm not native to Japan, but I sense the mafia does not walk around saying, Hello, viewer, I am in the mafia, and would you pass me that cherry, for we mafia types are known to be hungry!
Many, many opportunities for solid characterization were just outright squandered; what could have been shown was lost in an ocean of telling....
The film did get me thinking, though, about what kind of character could be created out of a sort of negative space, the reports of others, and little else. I wondered, in the beginning, if that was the director's goal, but in the end, I felt it wasn't. It just felt clumsy and sort of took me out of things....
Here we sort of see it in the extreme: they assemble the characters, they drive them down to the dude's house, big dramatic moment, and... they sit in the car and tell, tell, tell. Then the scene ends.
Contrast all that with the scene above. Here, in an instant, with no dialogue, and through the perfect combination of setting, action, and demeanor, we know everything about these characters, their situation, and their relationship to one other.
It's masterful, but also frustrating. How to read the rest of the film, I wondered. Intentional? Not? Eh.
Another example of a scene well-done.Edited by noob in 89 - 3/24/13 at 9:41pm