SUKIYAKI WESTERN DJANGO

Japan, 2007, 120 minutes, Colour.
Hideaki Ito, Koichi Sato, Yusuke Iseya, Quentin Tarantino.
Directed by Takashi Miike.

At the end of this film, there is a joke: the little boy who survives the bloodbath travels, when he grows up, to Italy and is known as Django. This reference to the spaghetti westerns indicates that they have been a model for this no-holds-barred homage to, parody of, Japanese adaptation of, the spaghetti western.

However, there is another very strong influence which is seen right from the beginning. As the legend is told, audiences see that it is Quentin Tarantino speaking the legend. The film is certainly in the Tarantino, Robert Rodriguez vein. Tarantino also enjoys himself as the aging character he portrays imitating the Japanese accent trying to speak English.

In fact, the film is spoken in English with rather Tarantino-like dialogue and plenty of American slang (though rather restrained in the swearing department).

The film is highly stylized. Some sets are naturalistic, some sets are quite artificial. The colour photography also emphasises primary colours making the whole thing very vivid. In fact, colour is important because part of the screenplay refers to Shakespeare and the Wars of the Roses, specifically Henry VI and various citations from it. The two warring factions in the Western town are red and white, echoing the houses of Lancaster and York.

Into this village comes a lone gunman, dressed in black. While he seems invulnerable most of the time, he is almost killed by the warring factions. However, he certainly revives and destroys everybody in his path.

There are the stock characters - but the group of reds and whites are an assorted bunch of Japanese types from gangster films and samurai films. There is also the woman at the bar, who has experienced tragedy in her life, and her young son. There is also the old warrior woman who is admired by the old saloon owner - and they fight together to the end. There is also a two-timing sheriff - who is meant to be funny in the Japanese comic style.

The leader of the reds is a cowardly type who sees himself as Henry VI, changing his name to Henry. The leader of the whites is a smug and self confident young warrior.

The film is very humorous at times. It is very bloody at times. It is also very loud - especially when the Gatling gun arrives on the scene.

This is the kind of film that audiences who go to special midnight screenings really relish, and join in.

1.The status of the film as a cult western? The appeal to cinema buffs who understand the references? The background of Japanese samurai films and the incorporation of the style and character of spaghetti westerns? The presence of Quentin Tarantino and his influence? The combination of all these factors?

2.The title, the style, the parody of spaghetti westerns, Japanese menu? The end, and the explanation of the young boy going to Italy and becoming Django?

3.The stylised sets, the wide screen, the town, the seasons, the snow, the city square, the saloon, the headquarters of each clan, the countryside? The use of colour, bright and primary colours? Red and white and their symbolism? Costumes, décor?

4.The special effects, the action, the editing, the effects of blood?

5.The introduction, the stranger with the poncho, the attack and the killing? The explanation of the legends? Quentin Tarantino and his presence, character, his ordinary accent, his mock-Japanese English accent? The Tarantino sense of humour? Discussions? His later appearance? His relationship with Benten? His son? The importance of Tarantino in the film (and not just for marketing)?

6.The cinema traditions, the battles, the factions, the Red and the White factions, the references to Shakespeare, The Wars of the Roses, Henry VI, the leader of the Reds and his calling himself Henry? Imitating Shakespearean heroes? Quoting the plays? The dramatic effect? Anomalous? Humorous?

7.The arrival of the stranger, his garb, appearance, hat? Guns? From the old-style west? In a Japanese town? The deserted town, the people from the village leaving? His style, the icon of a gunfighter? In the square, the approach of the White and the Red factions, their bargaining with him? The woman? The sheriff? The mayor? His decision? The consequences? His finally being taken, not wanting the woman to suffer, accepting the torture? His freedom because of the woman? Ultimate confrontation and victory?

8.The woman, her being in the bar, her story, the flashbacks to her husband, the happy marriage, his lineage to the Tarantino character and Benten? Benten and her life in the saloon and village? The young son? The attack on the husband, his death? The rape of the woman? Her decision to stay in the saloon, supporting her son? With his grandmother? The boy, his cultivating the red and white roses? Mute? The old woman, her presence, protection? The effect on the boy? The two women? His becoming Django?

9.The Red faction, the rape, the Shakespeare, the deals with the sheriff, his sinister action? The confrontation with the Whites? With the leader? The issue of the gold? The graves, the deporting of the people? Madness and arrogance?

10.The White faction, the members of the gang, the leader, his sword, the exercises with his men, the man whose head was split? His sensibilities, attraction towards the woman? The attacks? His men, the shooting of the armour?

11.Mad Benten, her relationship with the Tarantino character, her son, coming to the village, caring for her son, her daughter-in-law, the boy? Her friendship with the storekeeper? Their life, relationship? Her going into action – revealed as the warrior, Mad Benton?

12.The mayor, his having to do a deal – and his execution and being hung in public?

13.The sheriff, a sinister character, betrayal, ingratiating himself? The gun? His comeuppance and death?

14.The leader of the Reds, mad, his armour, the gun? His putting his subordinate in front of him as protection? The contrast with the leader of the Whites, his swordsmanship? His 2IC, his reaction to the woman, his violence towards her? His death?

15.The coming of the gun, its firing? The beginning of the confrontation, mayhem?

16.The resolution a la spaghetti westerns? The overall effect – reminiscences of Italy, reminiscences of Japan? The combination?