Glory to the Filmmaker!

An amazing, simultaneous critique, spoof, parody, and confession of Kitano's post-yakuza film career. There is a lot to read into here, but not for everyone.

Kitano pours his the heart and soul of his creative madness and frustration into a 90 minute document that lets you peer into the mind of a director -- to see his hopes his aspirations, both realistic and fanciful Naturally, that sounds pretentious but this is Beat Takeshi so it's absurd, filled with sandpaper dry humor and off-the-wall bits like pro Japanese wrestlers running a ramen diner throwing complaining customers through the windows. Among other things....

Again, an interesting concept on paper, but the meta genre-hopping and surrealism feels more like a chore than something Takeshi is having fun with or using to make a broader point about his personality. The comedy bits may as well be a collection of outtakes from his day job as wacky TV host. The Kikujiro callback ends up being a sad reminder that his best days may be behind him.

(Viewed on 19/01/14): Kitano's second self reflexive film is marginally better than Takeshis', if only because it's slightly easier to follow. Hardcore devotees of Japanese cinema will undoubtedly get pleasure out of all the references to J-cinema's past, but the tributes/parodies will be lost on the uninformed, which probably explains why it wasn't widely distributed. Takeshi's Manzai influenced brand of comedy is an acquired taste, and G.T.T.F is unlikely to appeal to casual fans.

05 Nisan 08,16:00,fitas salon1,siraL koltuk3, 27. ist. film fest. & Uzun zamandir bir filmde bu kadar gulmemistim.Filmi ikiye bolersek ilk bolumden daha memnun kaldim.ikinci bolumde ise yonetmen gercekten ozgur bir calisma sergilemis ve sonunda da nedenini gozler onune sermis: "hergun dunyanin yok olma tehlikesi var, o yuzden istedigi gibi film cekmeli yonetmenler, zaman az" ve kitano tum turleri icine alan ama hic bir tur olarak adlandirilamayan bir film ortaya koyuyor.tabii istedigi gibi.

Succeeds where Takeshis' and Getting Any failed, in making good cinema out of Kitano's sense of humor and general whatthefuckery. Brilliant. 壊れてます, indeed.

The comedy pays homage to kitano's life work and crosses a lot of filming styles common to Japanese film. each presented as though they were past ideas of kitano. The persistent gag is a metal/paper dummy used as Kitano's double in physically jeopardizing scenes. He consistently includes himself in his movies as the main character and makes further satire of his work by defying the accusation that he only makes movies of one genre gangster flicks. It is a fact that in his earlier work he