Sukiyaki Western Django (2007)
by Steve Habrat
When you first hear about Japanese auteur Takashi Miike’s samurai/spaghetti western mash-up Sukiyaki Western Django, you can’t help but be intrigued if you are a fan of either genre. Any unlikely genre mash-up is going to grab the interest of cinema fanatics and when you say the unpredictable Miike is behind the camera, it becomes a must-see film. But, like most genre mash-ups/hybrids, Sukiyaki Western Django is immensely disappointing. Way back in 1964, Italian filmmaker Sergio Leone was inspired by Akira Kurosawa’s samurai film Yojimbo and he loosely based his first spaghetti western A Fistful of Dollars off of Kurosawa’s film and ended up reinventing the genre. The east was the inspiration for the new vision of the west that was emerging out of Italy. With Sukiyaki Western Django, Miike pays tribute to the two classics and fuses the spaghetti western to the samurai film then attempts to conceal the line where he connected them. The result is a surreal and often times cartoonish vision that also attempts to weave in some traces of Japanese history. Unfortunately, Sukiyaki Western Django, which is named after a popular Japanese one-pot beef dish and Italian filmmaker Sergio Corbucci’s legendary spaghetti western Django, has a flavor that is tasty on the first bite but quickly begins droning on the viewer until Miike dumps a whole bucket of salt and pepper on the feisty gunfight at the climax.
Sukiyaki Western Django picks up in the small town of Yuta, Nevata, where two warring gangs, the Heikes (reds) and the Genjis (whites), are waging a battle for control of the town. One day, an unnamed gunman (Played by Hideaki Ito) wanders into Yuta and offers up his service to whichever gang will pay more. After demonstrating his skills, both make generous offers to this mysterious gunman but he isn’t entirely interested in their offers. The gangs are after gold that is buried somewhere near the town and one gang is importing a weapon that can give them the upper hand in their battle. The gunman begins playing to two gangs against each other in an attempt to wipe both of them out and make off with the gold for himself. As the war grows more and more violent and the body count racks up, the gunman finds an ally in a legendary gunslinger that has been hiding in plain sight of the gangs. Her name is the Bloody Benton (Played by Kaori Momoi) and she happens to be an independent one-woman killing machine.
Sukiyaki Western Django opens with a nifty sequence that involves a lone gunslinger named Piringo (Played by Quentin Tarantino) who finds himself confronted by three cowboys who wish to kill him. Miike doesn’t make any attempt to hide the fact that his actors are on a soundstage with a painted backdrop behind them and a very visible string holding up the giant sun. The sequence is suggestive of films like The Searchers, Once Upon a Time in the West, and A Fistful of Dollars all in one breath. It is the most inspired sequence in Sukiyaki Western Django, Tarantino getting his dream role of emulating Clint Eastwood’s Man with No Name. If Miike had run with this technique throughout the entire runtime, Sukiyaki Western Django would have no doubt been a much better and cooler film. When the film travels to Yuta, he switches over to real landscapes, intense color pallets, and lots of special effects which all get worn out before they even get going. Miike finally gets things back on track during the final shoot out where he slips in references to The Good, The Bad, and the Ugly, Django, and The Great Silence. This is a sequence that will have fans of the genre erupting in applause. It is a sequence that also single handedly saves Sukiyaki Western Django from crumbling like one of the ramshackle buildings that dot the town of Yuta.
One choice that Miike makes that is very questionable is having his Japanese actors abandon their mother tongue and speak broken English. On one hand, it is understandable why he would make this choice, approaching the western genre that finds its roots in America, but it is clear that some of his actors are having a difficult time with the English language and that they would have been more comfortable speaking their own language. In my opinion, if he would have stuck to the Japanese language, Sukiyaki Western Django would have been a much more coherent film and much easier for the viewer to follow. At times, I found myself getting lost and finally switching on the subtitles so I could understand some of the actors and keep up with the plotline. Once I did this, Sukiyaki Western Django clicked together ever so slightly. Miike also makes the mistake of not fleshing his characters out enough, turning them into silly caricatures that look like they leapt off the pages of a comic book and left their back stories in the mind of their creator. You can’t particularly care about any of them and they all just fill the screen to become moving targets for shotgun blasts. The actors seem to be having fun with their characters but no one actually inhabits their character and brings them to life.
Sukiyaki Western Django exists simply to be an in-joke to the hip cinema crowd and I must admit that I enjoyed a few of those in-jokes. I found the references to Yojimbo and the spaghetti western classics to be comical but I wish that Miike’s film had created its own world rather than just cobbling together borrowed blood-dipped chunks of other director’s cinematic worlds. The film will also appeal to those who have a strong interest in world history, as the film makes a fistful of references to historical events including England’s Wars of the Roses and Japan’s Genpei War. To me, Sukiyaki Western Django turned out to be a middling film that left me dissatisfied because I thought it was capable of so much more but it wasn’t interested in aiming higher. I tend to enjoy Miike’s depraved work even though it makes me want to loose my lunch after it ends but this particular film never comes together when it needs to, especially when it is giving clunky, vague and longwinded explanations of its plotline that are ultimately forgettable. Miike does add a bit of kick with the awesome opening sequence, the very cool Bloody Benton character (the only one given an intriguing backstory), and the outrageous climatic showdown. If you find yourself to be the fanatic of Japanese cinema and history, a guru of westerns, spaghetti westerns, Yojimbo, Quentin Tarantino, Miike, and his entire body of work, you will eat up Sukiyaki Western Django. If you are only some of those things or none of those things, you’re going to find this film to be an incredibly uneven experience and a chore to endure.
Sukiyaki Western Django is now available on Blu-ray and DVD.
Posted on April 21, 2012, in REViEW and tagged a fistful of dollars, akira kurosawa, clint eastwood, django, foreign cinema, hideaki ito, japanese cinema, kaori momoi, quentin tarantino, samurai films, sergio corbucci, sergio leone, spaghetti westerns, takashi miike, the good the bad and the ugly, the great silence, the searchers, westerns, yojimbo. Bookmark the permalink. 6 Comments.