Kitano excels in a role he is well-accustomed to: the world-weary cop
who makes his own rules in an indifferent Japanese society founded on
compliance and acquiescence with one’s fortune. Hearing that his wife
is terminally ill, and his partner has been shot and permanently
disabled, he endeavours to make what remains of their lives as happy as
possible, at whatever cost to anyone else – especially the Yakuza.
Perfecting his trademark sudden juxtapositions between meditative
calm and kinetic fury, Hana-Bi proves Kitano to be a cinematic Basho,
his canvas the silver screen, his film a painting executed with
meticulous and masterly strokes. This is his finest hour.
