Stay Foolish: Yakuza Apocalypse von Takashi Miike

Ich freue mich auf jeden neuen Film von Takashi Miike. Es ist eine besondere Art der Vorfreude, die man immer seltener empfindet, je älter man wird und je mehr Filme man gesehen hat. Weniger Neugier, Interesse, sehnsuchtsvolle Erwartung oder Ehrfurcht in Bezug auf das, was da an Großem und Erhabenem auf einen zukommen mag. Eher etwas Kindliches, Zappeliges, Kribbelndes wie einst bei Wundertüte und Überraschungsei, eine Vorfreude auf die Freude selbst. Ich habe noch keinen einzigen Miike-Film gesehen, der mich gelangweilt hätte, im Sinne eines sicheren Bewusstseins, was man gerade sieht und was da noch kommt (zugegeben: weit mehr als die Hälfte seines massiven Oeuvres ist mir nach wie vor unbekannt). Bei weitem nicht alle seine Arbeiten sind in tiefer Erinnerung geblieben, aber keine hat sich so unbeliebt gemacht, dass ich nicht bereit wäre, sie aufs Neue zu sichten und mein Gedächtnis aufzufrischen. Dafür gibt es eine Reihe von Gründen, die man wohl an so gut wie jedem Miike-Werk exemplifizieren könnte, auch seine (wahrscheinlich schon längst nicht mehr aktuellste Arbeit) Yakuza Apocalypse eignet sich dafür.

Takashi Miike mit Fisch

Miikes Kino ist zuvorderst eines der unaufhörlichen Einfälle, im wörtlichen Sinne. Seine Filme haben ein meistens eher lockeres Genre- und Drehbuchgerüst, dass nichts weiter verlangt, als erkennbar zu bleiben. Dessen Ausgestaltung hingegen scheint oft jeglicher Regelhaftigkeit enthoben. Es gibt so gut wie nie einen konsistenten Tonfall, der dingsichere Prognosen kommender Szenen oder Stilmittel zulassen würde. Stattdessen folgt Miike einem bedingungslosen, fast schon situationistischen Im-Moment-Sein: Was aus einer Konstellation (von Schauspielern, Schauplatz, Stimmung, Budget und narrativer Gegebenheiten) hervorgeht, wird angenommen und ausgeschöpft, unabhängig davon, ob es „passt“ oder nicht. In einem aufschlussreichen Drehtagebuch (nachzulesen im Miike-Kompendium Agitator von Tom Mes) steht ein prägnantes Diktum des Regisseurs: „The more you respect the essence of the screenplay, the more the screenplay ist transformed.“

Das heißt etwa, dass die inhärente Absurdität eines Moments nicht notdürftig kaschiert wird, weil sie an der falschen Stelle Lachen provozieren könnte. Stattdessen wird sie wie eine Quelle angezapft und verstärkt. Genauso heißt das aber auch, dass bei weitem nicht alles lächerlich sein muss, nur weil es sich um einen lächerlichen Film handelt. Wenn sich Schönheit bemerkbar macht, wird sie gewürdigt, wenn Ruhe und Diskretion angebracht scheinen, werden sie gewährt. Das Resultat ist eine beachtliche Unverkrampftheit der Bilder, selbst wenn das Ideen- und Atmosphärengewirr zur Folge hat, dass manches untergeht und das Tempo wild schwankt (ganzheitlicher Rhythmus ist tatsächlich eine Qualität, die den wenigsten Filmen des Regisseurs eignet, obwohl Sequenzen für sich sehr präzise getaktet sind).

Miike erlangte seine Popularität im Westen zunächst als Lieferant extremer, grotesker Gewaltdarstellung, eine befremdliche Reduktion seines Schaffens auf billige Schocktaktiken. Dabei ist die Gewalt in seinen Filmen (die überdies vom Burlesken bis zum Tragischen verschiedenste Erscheinungsformen kennt) nie Selbstzweck. Ich erinnere mich, als mir in Schulzeiten eine Kopie von Ichi the Killer als der letzte krasse Scheiß vermittelt wurde, und meine Überraschung (und Irritation) angesichts der eigentümlichen Melancholie und Poesie mancher der garstigsten Episoden des Films.

Yakuza Apocalypse von Takashi Miike

Yakuza Apocalypse gehört zweifellos zu Miikes Spieltrieb-Filmen, die Skurrilität überwiegt. Das Drehbuch seines mehrmaligen Regieassistenten Yoshitaka Yamaguchi über Vampir-Yakuza in einer Kleinstadt und ein von Sonderlingen und Fabelwesen angeführtes Syndikat des Bösen scheint bereits mit einem leichten Augenzwinkern verfasst worden zu sein. Dennoch ist es nicht die Prämisse an sich, die gimmickhaft in Erstaunen versetzt, sondern die sukzessive Erkenntnis, dass die eigene Phantasie letztlich weit hinter dem zurückbleibt, was Miike und sein Team aus dem Konzept machen, zu welchen Abschweifungen und filmischen Aperçus sie sich hinreißen lassen, ohne Sinn- und Zweckfragen zu stellen. Miike pendelt mittlerweile regelmäßig zwischen größeren Studioproduktionen und kleineren Projekten hin und her. Dies ist eines der Letzteren, wo die Rücksicht auf erzählerische und psychologische Stringenz noch geringer ausfällt.

Nach der „Einführung“ des Yakuza-Vampirchefs Kamiura (Rirî Furankî) in einer prototypischen Miike-Exp(l)osi(ti)on (er metzelt sich durch eine Feindeshorde, wird von Kugeln durchsiebt und kämpft trotzdem weiter) sowie seines Protegés Kagayama (Hayato Ichihara) gibt es einen Sketch-Comedy-Passage über die Resozialisierung gefangener Gangster, die zurückhaltende Anbahnung einer Liebesgeschichte, gefolgt von der zugleich pathetischen und überzogenen Ermordung des Übervaters, der seine Gabe an den Günstling weitergibt. Dieser kann seinen Blutdurst nicht kontrollieren, und bald ist das ganze Dorf vampirisiert, was der Film wider Erwarten satirisch wendet – die Yakuza sind plötzlich obsolet, weil jeder Bürger seine böse Seite entdeckt hat und Kriminalität zum Normalzustand wird. Unterdessen schmiedet das Syndikat seine Machenschaften unter der Leitung eines schnabelgesichtigen Wasserdämons, dessen hemdsärmelige Kostümierung den Darsteller nicht daran hindert, seine Rolle voll auszukosten. Und dann kommt der Froschmann.

Aber es ist eben nicht die bloße Tatsache, dass ein Mann in einem übergroßen, giftgrünen Froschmaskottchen-Plüschpelz sich als „the world’s toughest terrorist“ und formidabler Kampfkünstler herausstellt, die solche Einfälle besonders macht. Es ist die Selbstverständlichkeit, mit der der Film diese Tatsache in seine Diegese integriert, vollends dazu bekennt, nur in subtilen Seitenwitzen auf ihre Absurdität anspielt: Etwa wenn das knuddelige Ungetüm beim Treppensteigen Hilfe braucht, weil sein Kopf zu groß ist, oder wenn man deutlich erkennen kann, dass niemand im Kostüm steckt, als es später von einem Truck überfahren wird (um in der nächsten Einstellung wieder aufzustehen). Es geht nicht um den Irrwitz-an-sich, sondern darum, was daraus gemacht wird, wie er mit anderen Elementen und Ebenen des Films in Zusammenhang steht, wie er moduliert werden kann, um neuartige Effekte zu erzielen.

Yakuza Apocalypse mit Frosch

Die Demonstration dieses produktiven Nonsense würde eine Detailanalyse erfordern. Ein Beispiel wäre etwa die Art, wie bei die Bedeutsamkeit und Dramatik der Hinrichtung Kimeuras durch einen Schergen des Syndikats (Yayan Ruhian aus The Raid in der Maskerade eines Otakus, an sich schon eine sonderbare Lust-und-Laune-Besetzung) dadurch suggeriert wird, dass er dessen Schädel erstmal mehrfach um seine eigene Achse dreht, bevor er ihn ausreißt. Ein anderes, wie Miike den großen Showdown inszeniert (es ist einer von vielen): Zwei muskulöse Männer bringen sich in Stellung. Ein Gong ertönt, und sie schlagen einander mit voller Wucht zeitgleich ins Gesicht. Taumelnd fassen sie sich wieder, positionieren sich neu – jetzt aber richtig. Doch der Prügel-Fauxpas wiederholt sich. Und wiederholt sich. Und wiederholt sich. Beim ersten Mal lacht man noch. Beim dritten fragt man sich, wie weit Miike das Spiel noch treiben wird. Beim siebten sieht man das Ganze plötzlich unter völlig anderen Vorzeichen, als buchstäblich ermüdendes Sinnbild eines kosmischen Kreislaufs ewiger Gewalt, das in der apokalyptischen Schlussnote seine (nichtsdestotrotz etwas alberne) Apotheose findet.

Allerdings würde selbst eine Aufzählung sämtlicher Disruptionsmomente einen wesentlichen Aspekt von Miikes Kunst unterschlagen: Die oftmals willkürlich wirkende Alles-Geht-Mentalität steht in starkem Kontrast zur Raffiniertheit (und periodischen Langsamkeit) seiner Bildsprache. Schuss-Gegenschuss etwa ist eine Seltenheit bei ihm: Viel öfter werden Dialogszenen in ausgeklügelt kadrierten Totalen aufgelöst, die langsam seitwärts gleiten wie bei Hou Hsiao-Hsien, strotzend vor fein säuberlich verteilten Ausstattungsdetails. Immer wieder gibt es Schnitte, die sich nur nach Blicken richten, um zu sehen, wo diese hinführen und ob sie erwidert werden, immer wieder kommt es zum poetischen Stillstand in enigmatischen (Traum-)Landschaften (in Yakuza Apocalypse etwa kurz vor Schluss, Kagayama und seine Beinahe-Freundin auf einer Grünoase im Schrottmeer). Es gibt unleugbar großen Respekt vor den Schauspielern, die bei Miike auch noch in den allerblödesten Rollen ihr Bestes geben und deren Leistungen nach Möglichkeit der Raum gelassen wird, der ihnen gebührt. Man spürt in jeder Einstellung, dass hier eine eingespielte Crew am Werk und mit ansehnlichem Enthusiasmus bei der Sache ist. „We are artisans and amatuers rather than professionals. We are agitators fiddling around with something that gives us enjoyment.” So formuliert es der Regisseur mit typischem Understatement, wobei seine positive Auffassung von „Handwerkern“ und „Amateueren“ natürlich nichts mit mangelnder Professionalität zu tun hat. Sie bedeutet nur, dass Filmemachen nicht zur Routine verkommen darf, die Planmäßigkeit über alles stellt, sie fordert Raum für Kontingenz im Produktionsprozess. Die mit Hilfe einer Kerze einem leeren Blatt Papier entlockte Geheimschrift-Abschiedsbotschaft von Kagayamas Mentor lautet passenderweise: „Stay foolish.“

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  63. The Zune concentrates upon remaining a Transportable Media Player. Not a internet browser. Not a sport machine. Possibly inside the long term it’s going to do even greater in just those areas, yet for now it really is a remarkable course in direction of prepare and hear in direction of your tunes and flicks, and is with out peer inside of that respect. The iPod’s rewards are its world wide web visiting and apps. If all those strong further powerful, maybe it is your least difficult determination.

  64. Palms down, Apple’s app retail store wins by a mile. It truly is a huge selection of all styles of apps vs a pretty disappointed option of a handful for Zune. Microsoft contains Ideas, in particular inside the realm of video games, however I am not positive I would want toward guess upon the foreseeable future if this part is vital in the direction of you. The iPod is a substantially much better determination within just that scenario.

  65. This design is spectacular! You obviously know how to keep a reader entertained. Between your wit and your videos, I was almost moved to start my own blog (well, almost…HaHa!) Excellent job. I really enjoyed what you had to say, and more than that, how you presented it. Too cool!

  66. Amongst me and my partner we’ve owned far more MP3 gamers higher than the many years than I can depend, such as Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so forth. But, the ultimate several several years I have resolved down toward just one line of avid gamers. Why? Considering that I was satisfied to explore how well-designed and exciting in direction of retain the services of the underappreciated (and broadly mocked) Zunes are.

  67. I do trust all of the concepts you’ve introduced on your post. They’re very convincing and can certainly work. Nonetheless, the posts are too short for newbies. May just you please prolong them a bit from subsequent time? Thank you for the post.

  68. I got what you intend, regards for posting .Woh I am delighted to find this website through google. „I was walking down the street wearing glasses when the prescription ran out.“ by Steven Wright.

  69. Zune and iPod: Most americans compare the Zune to the Contact, but when observing how slim and shockingly lower and light-weight it is, I acquire it in direction of be a alternatively special hybrid that brings together qualities of both equally the Contact and the Nano. It’s incredibly vibrant and attractive OLED show is slightly smaller than the contact screen, yet the player alone feels reasonably a little bit smaller and lighter. It weighs around 2/3 as a lot, and is considerably lesser inside of width and height, though getting precisely a hair thicker.

  70. I’ve been surfing online more than three hours today, yet I never found any interesting article like yours. It is pretty worth enough for me. Personally, if all webmasters and bloggers made good content as you did, the net will be much more useful than ever before.

  71. I’ve been exploring for a bit for any high quality articles or weblog posts on this sort of house . Exploring in Yahoo I finally stumbled upon this website. Studying this info So i’m satisfied to convey that I’ve an incredibly good uncanny feeling I discovered just what I needed. I such a lot no doubt will make sure to don’t overlook this website and give it a glance on a continuing basis.

  72. Zune and iPod: Optimum men and women look at the Zune in direction of the Contact, nevertheless right after seeing how thin and incredibly small and light-weight it is, I check out it in the direction of be a as a substitute special hybrid that combines properties of each the Touch and the Nano. It is rather vibrant and gorgeous OLED display screen is a little smaller sized than the touch screen, however the player alone feels quite a bit smaller sized and lighter. It weighs about 2/3 as a lot, and is appreciably scaled-down inside of width and top, even though getting simply just a hair thicker.

  73. Good day! Would you mind if I share your blog with my facebook group? There’s a lot of folks that I think would really appreciate your content. Please let me know. Thank you

  74. This is starting to be a bit a lot more subjective, but I a great deal desire the Zune Marketplace. The interface is vibrant, includes more flair, and some awesome options including ‚Mixview‘ that allow for you abruptly watch equivalent albums, songs, or other end users identical to what you might be listening in the direction of. Clicking upon a person of those people will centre on that item, and one more fastened of „neighbors“ will arrive into feeling, permitting by yourself in direction of navigate close to investigating by equivalent artists, tunes, or customers. Chatting of end users, the Zune „Social“ is furthermore suitable enjoyment, making it possible for oneself come across many others with shared preferences and getting close friends with them. Your self then can pay attention in direction of a playlist crafted centered on an amalgamation of what all your buddies are listening to, which is in addition remarkable. All those worried with privacy will be relieved in the direction of comprehend oneself can avoid the public in opposition to looking at your particular person listening routines if on your own hence decide.

  75. Hi there just wanted to give you a brief heads up and let you know a few of the images aren’t loading properly. I’m not sure why but I think its a linking issue. I’ve tried it in two different web browsers and both show the same outcome.

  76. Apple currently consists of Rhapsody as an app, which is a perfect commence, still it is by now hampered via the inability in direction of retail outlet locally on your iPod, and contains a dismal 64kbps little bit rate. If this modifications, then it will relatively negate this ease for the Zune, but the Ten music for every month will even now be a big moreover in just Zune Pass‘ prefer.

  77. I have learned some important things as a result of your post. I’d also like to say that there will be a situation that you will obtain a loan and don’t need a cosigner such as a National Student Support Loan. In case you are getting a borrowing arrangement through a traditional bank then you need to be ready to have a co-signer ready to assist you. The lenders can base their very own decision using a few variables but the main one will be your credit worthiness. There are some lenders that will additionally look at your job history and come to a decision based on that but in many instances it will hinge on your rating.

  78. Fingers down, Apple’s application retail outlet wins through a mile. It really is a huge preference of all styles of purposes vs a quite sad quantity of a handful for Zune. Microsoft is made up of systems, specially in just the realm of games, yet I am not yes I would want toward bet upon the upcoming if this portion is crucial to you. The iPod is a a lot much better decision inside of that situation.

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