Fireworks 1997 123movies

Watch: HANA-BI 1997 123movies, Full Movie Online – Nishi, a police detective, has had to deal with a series of emotionally devastating events over the recent past. His only child, then preschool age, died two years ago. His wife, currently in the hospital, has been diagnosed with a terminal case of leukemia. And he develops a case of guilt when his colleague Horibe, during a stakeout which Nishi himself was supposed to be on but who, on Horibe’s suggestion, was visiting his wife in the hospital instead at the time, gets shot point blank. That guilt is only exacerbated when Horibe, who as a result becomes paraplegic, is abandoned by his wife and child, with Horibe himself at a loss with what to do with his life as being a police was his sole identity. As a means to cope, Nishi becomes increasingly reckless, which affects the way he does his police work. That recklessness extends to his personal life when his wife’s doctor recommends that she go home, Nishi, in the process, borrowing money from the yakuza to make ends meet. That recklessness also leads to him taking matters into his own hands as he tries to make his and his wife’s life together, for however long it will last, a series of small yet special moments..
Plot: Detective Nishi is relieved from a stakeout to visit his sick wife in hospital. He is informed that she is terminally ill, and is advised to take her home. During his visit, a suspect shoots one detective dead and leaves Nishi’s partner, Horibe, paralyzed. Nishi leaves the police force to spend time with his wife at home, and must find a way to pay off his debts to the yakuza.
Smart Tags: #police #illness #sick_wife #loan #tokyo_japan #police_officer #leukemia #loan_shark #abandoned_by_family #grief #cynicism #loneliness #beach #bank_robbery #gangster #yakuza #retiree #cancer #ill_woman #sick #sickness

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Ratings:

	7.7/10 Votes: 30,939
	96% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 528 Popularity: 15.894 | TMDB

Reviews:

There’s greatness in there, for sure, but ‘Fireworks’ (or, the better title, ‘Hana-bi’) drags on for too long.

I was with it for the first 45-55 minutes, but the final portion of the film really dragged for me; aside from a few moments, it kinda just repeats the same sorta scenes over and over. Like, personally, I got it… needed a bit more to it, in my opinion.

There are some very good performances, no doubt. Takeshi Kitano is the obvious star of the show, though I was also impressed by Ren Osugi – who is just as excellent as the aforementioned writer, producer and director of this 1997 flick. The support cast are solid, while everything onscreen looks neat too.

I did like this overall, but I can’t say it hit me as much as it evidently has for others. Worth a watch, either way.

Drop Dead.

Hana-bi (AKA: Fireworks) is written and directed by Takeshi Kitano. It stars Kitano, Kayoko Kishimoto, Ren Osugi and Susumu Terajima. Music is by Joe Hisaishi and cinematography by Hideo Yamamoto.

Yoshikata Nishi (Kitano) is a loose cannon police detective who quits the force after a tragic incident results in his partner, Horibe (Osugi), being confined to a wheelchair. His retirement brings him the time to care more for his seriously ill wife Miyuki (Kishimoto). Nishi can find no peace, though, more so as he has borrowed money from the Yakuza to pay for his wife’s needs, and they are growing impatient for the repayment…

Very early in Kitano’s superb slice of Japanese neo-noir there is a piece of graffiti on the wall, it says “Drop Dead”, while Hisaishi’s music is a devilish accompaniment to the scene. It’s ominous and foreboding, setting the tone for what is to follow. Pic is deliberately paced, beautifully so, with the opening nonlinear approach and scattergun shifts in time adding a sort of psychological maelstrom to the impending narrative darkness.

Yet to suggest it as a perpetually bleak picture is doing it a small disservice, for Kitano (himself working from a damaged psyche that occurred in real life) has this adroit eye for poetic beauty and human tenderness that marries up with bursts of violence and emotionally shattering passages of play. And it works brilliantly, with stabs of humour also filtering in via the outer frames.

Nishi the character is a force of nature and a walking – brooding – contradiction, a man pained behind his sunglasses, his expressionless visage amazingly still saying so much. When he explodes the impact is doubly strong, mainly because dialogue is so sparse, but the interwoven visuals – very much a Kitano speciality – strike an almighty chord for the story. To which we edge towards the finale, which unsurprisingly brings beauty and infinite sadness.

Unfussy camera work, sabre sharp editing (Kitano & Yoshinori Oota), elegiacal musical arrangements, art, kites and Kitano’s intense performance, this rounds out as film making greatness. In fact, a masterpiece. 10/10

More extraordinarily stunning cinema by Takeshi Kitano
Hana-bi (1997) is Japanese film maker Takeshi Kitano’s masterpiece along his Sonatine (1993). Hana-bi reminds me pretty much of his more recent film, Brother (2000), which still has much more humor and positivism in it. Those who have experienced Sonatine may ask can a film be even more beautiful and brilliant, but Hana-bi is at least as masterful, if also different. The film stars again the director himself as Nishi, a police man who learns his wife suffers from some extremely lethal disease which has taken her speech, too. She is going to die soon, and all Nishi has in his mind is to make his wife’s last weeks as enjoyable and nice as possible. He is forced to deal with Yakuza in order to get some money for her medical care and other plans he has for her last days, and that leads of course to troubles with the gangsters as Nishi isn’t able to pay back his loans. Nishi’s partner is another tragic character, who is shot and paralyzed for the rest of his life during one shoot out. Also one of Nishi’s partners is shot dead in a scene, which belongs to the film’s most powerful scenes and it is shown as a flashback, in the usual silent and symbolic style of the director. What follows is all the great elements we’ve learned to wait from this artist from one of the greatest cinema lands in the world, Japan.

Hana-bi is almost unbearably sad and emotional, and its most tragic character is Horibe, the partner who is paralyzed and totally abandoned by his wife and children after he loses his ability to move and be like his used to. The scenes in which Horibe tells to Nishi about his loneliness and that everyone has left him are extremely powerful and really make think about the values of one’s own life for the second time. Horibe finds some kind of way to express his sadness through art and painting, and he gets a great gift from Nishi, one of his last friends who understands him and would never leave him like the others did.

The shoot out flashback is also one memorable segment in this film, and it is in its slow motion one of the most beautiful, yet shocking depictions of violence ever possible. Hana-bi has some very strong scenes of violence, and it all erupts again as rapidly as always in Takeshi’s films. Weak souls resort to violence very often, and the result is always just more violence, death, depravity and pain, both physical and emotional. I will stress again that those who think Takeshi’s cinema is gratuitously violent (or Japanese cinema in general, i.e. the work of Takashi Miike and Ishii) miss the whole point as his films absolutely never glorify violence or present it as a noteworthy tool; his films analyze violence and show many aspects of it, without hiding or embellishing anything. His films are as important in this level as they are in cinematic element level as some of his usual trademarks are absolutely unique and stunning, and Hana-bi is definitely not an exception.

The music is again by Joe Hisaishi, who composed Takeshi’s films Sonatine and Brother plus some others. The soundtrack in Hana-bi is again one key element of the film, and it is perhaps closer to Brother’s than Sonatine’s, but still all these three films have unique and masterful soundtrack which is full of emotions. The greatest element of all, however, in Hana-bi are the paintings by the director himself, who painted them after his nearly fatal motorcycle accident in 1994. They are stunningly beautiful and staggering as they combine different types of nature’s beauty in very unique way. The animals combined with flowers are so wonderfully effective and their power is taken even further by the music. This symbolism creates so powerful experience that it almost requires the viewer to cry for the characters, but also for the cinematic magic this director has created.

The usual wry humor of Takeshi is almost completely missing in Hana-bi, but there are some little bits, which are still in right places and work as fine as they always do. Still, this is the most inconsolable film of Takeshi, and be sure to watch the whole film the end credits included, since there’s one extremely purifying image coming, in the tradition of the finale in Brother. Despite Hana-bi being so sad and harrowing, the very end is again very relieving and belongs among the greatest endings of all time. Another film with similar ultra-powerful image at the end is Lars von Trier’s Breaking the Waves, another masterpiece from the 90’s.

I just cannot imagine loving some other film maker’s work more than Takeshi’s, and he is among the greatest cinematic artist I know, and it is not a surprise he’s from Japan, since Asian film makers are usually the most personal and stunning and don’t have any restrictions for their work like in Hollywood film makers usually have as they have to keep the ratings and commercial things in mind. Fortunately Takeshi has been able to do his films completely free, and I really hope he can continue it for many years to come. Hana-bi is his brightest masterpiece. 10/10 immortal cinema.

Drop Dead.
Hana-bi (AKA: Fireworks) is written and directed by Takeshi Kitano. It stars Kitano, Kayoko Kishimoto, Ren Osugi and Susumu Terajima. Music is by Joe Hisaishi and cinematography by Hideo Yamamoto.

Yoshikata Nishi (Kitano) is a loose cannon police detective who quits the force after a tragic incident results in his partner, Horibe (Osugi), being confined to a wheelchair. His retirement brings him the time to care more for his seriously ill wife Miyuki (Kishimoto). Nishi can find no peace, though, more so as he has borrowed money from the Yakuza to pay for his wife’s needs, and they are growing impatient for the repayment…

Very early in Kitano’s superb slice of Japanese neo-noir there is a piece of graffiti on the wall, it says “Drop Dead”, while Hisaishi’s music is a devilish accompaniment to the scene. It’s ominous and foreboding, setting the tone for what is to follow. Pic is deliberately paced, beautifully so, with the opening nonlinear approach and scattergun shifts in time adding a sort of psychological maelstrom to the impending narrative darkness.

Yet to suggest it as a perpetually bleak picture is doing it a small disservice, for Kitano (himself working from a damaged psyche that occurred in real life) has this adroit eye for poetic beauty and human tenderness that marries up with bursts of violence and emotionally shattering passages of play. And it works brilliantly, with stabs of humour also filtering in via the outer frames.

Nishi the character is a force of nature and a walking – brooding – contradiction, a man pained behind his sunglasses, his expressionless visage amazingly still saying so much. When he explodes the impact is doubly strong, mainly because dialogue is so sparse, but the interwoven visuals – very much a Kitano speciality – strike an almighty chord for the story. To which we edge towards the finale, which unsurprisingly brings beauty and infinite sadness.

Unfussy camera work, sabre sharp editing (Kitano & Yoshinori Oota), elegiacal musical arrangements, art, kites and Kitano’s intense performance, this rounds out as film making greatness. In fact, a masterpiece. 10/10

Other Information:

Original Language ja
Runtime 1 hr 43 min (103 min)
Budget 0
Revenue 0
Status Released
Rated N/A
Genre Crime, Drama, Romance
Director Takeshi Kitano
Writer Takeshi Kitano
Actors Takeshi Kitano, Kayoko Kishimoto, Ren Ôsugi
Country Japan
Awards 23 wins & 24 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Arriflex 35 BL4, Zeiss Prime Lenses
Laboratory Tokyo Laboratory Ltd., Tokyo, Japan
Film Length 2,832 m (Sweden)
Negative Format 35 mm (Kodak)
Cinematographic Process Spherical
Printed Film Format 35 mm