*Connecting the dots: In the current issue of The New Yorker (Jan. 9, 2012), Peter Hessler profiles Jake Adelstein, an American who has been writing about the yakuza for years. At one point, Hessler quotes an ex-yakuza as telling him that a yakuza must think of himself as being on stage. "If you're bad at playing the role of a yakuza, then you're a bad yakuza." I couldn't resist applying this quote to Outrage, in which some of the yakuza performances erupt in exaggerated fury. That, of course, raises an interesting question about Japanese gangsters and other major role players. At what point does the act become real? Being a yakuza may require acting skills, but when the performance turns violent, does it become something else? When Hamlet ends, the stage is littered with corpses, but after the curtain falls, the actors get up and go about their business. The same can't be said for the most unfortunate of yakuza victims. Oh well, I can feel myself starting to go in circles here, but I wanted to add this note as an aid to understanding and perhaps appreciating some of the performance styles in Outrage.
Thursday, January 5, 2012
A yakuza-palooza of a movie
A Japanese mob movie that doesn't skimp on violence.