Director:
Shion SonoGuión:
Shion SonoCámara:
山本英夫Reparto:
長谷川博己, Fumi Nikaidou, Gen Hoshino, 堤真一, Jun Kunimura, Tak Sakaguchi, Akihiro Kitamura, Tarō Suwa, Denden, ミッキー・カーチス, Tetsu Watanabe, Chiba Kazuma, Kenji Kawahara (más)Sinopsis(1)
Los Fuck Bombers, un grupo de jóvenes que ansían filmar la mejor película de la historia, tendrán su oportunidad al involucrarse en un enfrentamiento añejo entre dos clanes de yakuzas. Con un guión realizado hace 20 años, Shion Sono hace un homenaje a los entrañables rodajes en 35 mm, al legendario Bruce Lee, al clásico filme Cinema Paradiso, al cine amateur y al cine de yakuzas con una explosiva mezcla de comedia gore y falso documental. El filme resulta una evocación a la lucha juvenil por cumplir sus sueños. (Interior XIII)
(más)Videos (3)
Reseñas (4)
¡Whoooa! Esta tarta de película maníaca multigénero fue horneada por un perro y un gato. La película tiene un gran comienzo y no se detiene en absoluto en la primera media hora. Sangre, humor, metachistes, guiños a los cinéfilos, juego de géneros, autoparodia, escenas de acción... Y termina con una secuencia de más de 20 minutos, en la que dos clanes mafiosos luchan entre sí, los miembros vuelan por los aires, la sangre salpica en todas direcciones, la cocaína rueda por el suelo, y todo está filmado por cineastas distraídos en patines, riendo diabólicamente. El ritmo frenético sólo se ve entorpecido por los ocasionales intentos de pasajes serios, cuya seriedad no encaja en absoluto en el resto máximamente hilarante y resulta bastante torpe. Por lo demás, pulgares arriba, especialmente si sabes en lo que te estás metiendo y te sientes cómodo con la locura brutalmente exagerada al estilo japonés.
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I’m not a Sionist :), I’ve watched a couple of his films and never gave them more than three stars; and I almost didn’t survive Guilty of Romance, but this one was good. It’s an incredibly fun meta joke that at times will make any film enthusiast smile like an idiot. Needless to say, it’s really insane, but this time also somewhat accessible for western audiences. 9/10
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Shion Sono made a Tarantino-style Japanese blockbuster, but this was a bit too much for me. Classically excessive running time wrapped up in a fairly interesting and original story, the last half hour of which culminates in an absolute splatter massacre that unfortunately comes across as funny rather than gritty. The visual effects, perhaps created in After Effects, and the overall execution of the gore is, for me, well below average, which is a huge bummer for the gore-loving horror fan. On the other hand, at least I liked the protagonist, Mitsuko, an uncompromising and sexy bitch that you will want to fuck to madness while watching the film!!! While watching it I said to myself several times WTF, REALLY? The Japanese are crazy and their form doesn't really work for me. If the Koreans had taken this in a gritty, dirty, visually breathtaking way, my feelings would be much more positive. I'm not overly enthusiastic, but the film definitely has a certain quality and I don't regret watching it. 6/10
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Whereas other Japanese directors whose names became fixed in the consciousness of western film enthusiasts at the turn of the millennium have since transitioned into the mainstream or have stagnated or even gone quiet in their work, Shion Sono still has the mark of a non-conformist filmmaker and, furthermore, he has not let up in the pace at which he releases new films. Though it cannot be said that every one of his new films is a masterpiece, and he is also apparently swayed by demand on occasion (Guilty of Romance), he still regularly makes films that captivate with their distinctiveness. Even in the context described above, Why Don't You Play in Hell? is surprising as a work characterised by extraordinary broad-mindedness. It takes the same approach as its subject, a group of enthusiastic amateur filmmakers who simply want to shoot a movie and not bother with any norms or rules. Here we have a refreshingly unpredictable eruption of ideas, though it remains a work exhibiting professional craftsmanship and a reflection on popular genres polished over the course of years – the result is a perfect hybrid of techniques that one would associate with the otherwise contradictory worlds of enthusiastic novices and seasoned veterans. In terms of genre, Sono conceived the film as a muti-layered reflection on yakuza movies. He pits one gang, seemingly cut out of 1960s ninkyo yakuza flicks (virtuous heroes, poetic ideals, a historical setting, sword fights), against the other, looking like something out of video productions of the 1980s and ‘90s (loutish goons, bosses as businessmen, wild shootouts). The narrative then culminates in a classic nagurikomi climax (a raid on the enemy gang’s headquarters) and everything is recorded in the de facto journalistic style of the revisionist jitsuroku yakuza movies of the 1970s. Instead of Tarantino-esque eclecticism, however, Sono doesn’t combine old elements into the ultimate yakuza film, but instead creates a farce in which he places inappropriate characters in classic situations. At the same time, however, Why Don't You Play in Hell? is a melancholic ode to a classic film subject and a celebration of film as a medium for making dreams come true. Sono’s distinctiveness is apparent also at this level, as he shows the power of film at the level of enthusiasm and idealism that unites revolutionary masters and new talents, as well as dabblers and amateur fans – as David “The Rock” Nelson said: “If you got a video camera, stick a blank tape in that machine, and film the dang thing!”
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Galería (28)
Foto © T-Joy
![¿Por qué no jugamos en el infierno? - De la película](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/159/885/159885086_67d603.jpg)
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