#Dont play with hell movie#

You can play your film in hell, but it will cost you your life.вЂњSono SionвЂ™s rousing, freewheeling, scattershot and ultimately astonishingly bloodthirsty film is a classic cult title that will keep midnight movie fans entertained and amused, especially as it really hits its stride in the final 45 minutes and revels in a sword-fight sequence that out-gores Quentin TarantinoвЂ™s sequence in Kill BillвЂ¦ The wonderfully garishly titled Why DonвЂ™t You Play in Hell? is a playful blending of Yakuza conflict while also acting as tribute to filmmaking, and while the line-delivery is based around the shouting technique for most of the time (this is not a quiet film), there is also a whole lot of B-movie fun to be had. Despite this, SonoвЂ™s head isnвЂ™t stuck in the past his film thrives on fresh, youthful energy and ultimately warns against the fog of nostalgia-which leads every character who succumbs to it to their inevitable doom. With everyone out to recapture something of a past glory, cinematic nostalgia, as prominent as it is, is ultimately just another remembered thing. The Fuck BombersвЂ™ own warmth towards the past comes both from a love of celluloid and a fear of aging out of their aspirations. As in Himizu, Fumi Nikaido proves herself to be an ideal actress for Sono, capable of pulling off every tonal shift the director employs with abandon and communicating emotional depths in moments of deranged violence-her best scene finds her forcing a kiss on an unfaithful boyfriend with a shard of glass on her tongue.В Mitsuko is running from her family, and the gang rivalry in play has a long history- Why DonвЂ™t You Play In Hell? has a clear affection for the past, right down to IkegamiвЂ™s effort to restructure his gang to mimic the clans of feudal Japan, leading to their newfound penchant for kimono-wearing. The star of this climax is Mitsuko, who slices through waves of Yakuza, sometimes leaving rainbows in her wake, producing some of the most indelible images in all of SonoвЂ™s filmography. The resulting climax plays like Kill BillвЂ™s Crazy 88s sequence on amphetamines, complete with a combatant in Bruce LeeвЂ™s yellow jumpsuit. SonoвЂ™s head isnвЂ™t stuck in the past his film thrives on fresh, youthful energy and ultimately warns against the fog of nostalgia. When gangster MutoвЂ™s (Jun Kunimura) film production-a gift for his wife on her return from prison-is interrupted by his daughter, Mitsuko (Fumi Nikaidou), running away from set, he must turn to Hirata, who comes up with a plan to film the gangвЂ™s attack on their rivals, led by the ridiculous Ikegami (ShinвЂ™ichi Tsutsumi).

After all, while the aforementioned scene takes place on a film set, the violence is as real as the stakes which are the result of real interpersonal tension, rather than the creation of a wild young director.В That director, Hirata (Hiroki Hasegawa), leads a crew of filmmakers dubbed вЂњThe Fuck Bombers,вЂќ whose dreams of 35mm glory are grounded by the reality of inexpensive DV productions. And while it makes loud proclamations about the importance of cinema-this is a movie about moviemaking-the sheen of 35mm nostalgia is but a device to carry characters to the sorts of bold, often blood-soaked emotional climaxes that Sono has made his stock-in-trade.

As in many of SonoвЂ™s best films, the extravagant violence here is motivated by grandiose emotions. A boy crawls through a blood-soaked room to be next to the girl he loves, a girl heвЂ™s only just metвЂЉ-вЂЉand thereвЂ™s a sword running through his head as he does this, transforming him into a sort of grotesque unicorn. ThereвЂ™s a moment late in Why DonвЂ™t You Play in Hell? that neatly sums up Sion SonoвЂ™s distinctive vision.

Dont play with hell