Pistol Opera

Pistol Opera, a captivating film shot in 2001, is an extraordinary work from celebrated Japanese director Seijun Suzuki, marking his return to cinema after a 10-year hiatus. As a sequel to his 1967 cult classic, Branded to Kill, it takes viewers back into Suzuki's distinctive world of stylized violence and surrealism, capturing the sombre nature of assassins' lives in a very avant-garde style. The film's leads, Makiko Esumi, Sayoko Yamaguchi, and Hanae Kan, add great value, giving their characters depth and dimension.

Pistol Opera intricately weaves the tale of an enigmatic female assassin, known as "Stray Cat", portrayed by the talented Makiko Esumi. Toiling away in the shadowy world of contract killers, Stray Cat is ranked number three in the clandestine guild of professional assassins. Each assassin in the guild is given a quantified rank, and the storyline revolves around these ranks and the ensuing competition to become the number one assassin.

The plot of Pistol Opera really kicks into gear when Stray Cat seeks to ascend this hierarchy by taking down her competitors. Stray Cat's veiled ambitions, however, are complicated by multiple encounters and altercations with beings from both the living and the dead, including a past number one (played by Sayoko Yamaguchi) who appears as a ghost and a 100-year-old grandmother also holding the rank of an assassin.

Makiko Esumi brings a graceful intensity to the role of Stray Cat, juxtaposing the fluidity of her balletic movements with raw, impactful displays of violence. In contrast, Sayoko Yamaguchi offers a spectral presence on screen, leaving the audience intrigued with her elusive persona. Hanae Kan, meanwhile, delivers a balanced act, embodying her character's intricacies impeccably.

Director Seijun Suzuki makes use of bold colour palettes and surrealistic film landscapes to create a stylized universe as vibrant as it is deadly. The utilization of music is unique, punctuating scenes of violence with traditional Japanese opera pieces, and providing an atmospheric backdrop to the eccentric action sequences, which is never too far. The film seamlessly transitions between reality and hallucination, which keeps the viewers on their toes at all times.

Although the primary theme of Pistol Opera is violence and social hierarchy, Suzuki has masterfully woven in elements of tragedy, unrequited love, longing, and loyalty into the movie, making the narrative complex and layered. Moreover, the film's exploration of existential dread, moral ambiguity, and the line between life and death brings an added depth to this visually stunning tale of power, ambition, and the cost of achieving one's ambition.

While Pistol Opera certainly revolves around death, the film is undeniably filled with life due to its visually arresting aesthetics, charismatic performances, and its tour-de-force narrative. The film embraces the fundamentally paradoxical nature of its subjects, creating a landscape of contrasts where beauty coexists with violence, honour stands alongside treachery, and life dances with death.

However, the film is arthouse cinema at its core, featuring non-linear storytelling, untraditional narratives, and surrealistic visuals which might not appeal to the mainstream audience. Thus, while the movie will be a treat to those with a taste for unusual cinema, it might sit uneasily with viewers more at home with Hollywood blockbusters.

In conclusion, Pistol Opera is a vivid, lush cinematic experience that delves into the complex lives of assassins, exploring their ambitions, dilemmas, and conflicts with a layer of surrealism. Boasting a stellar cast led by Makiko Esumi, Sayoko Yamaguchi, and Hanae Kan, along with Seijun Suzuki's returning touch of brilliance, it's a film that pulls its audience into a bizarre world of surreal noir, leaving an impact long after the credits roll.