Review of Branded to Kill (1967) by Thomas John B — 12 Aug 2007

Given a sequel three decades after the original, a Pistol Opera was viewed by some as a confused & overly experimental film ironically in the same way the original Branded to Kill was.

Jarring with a brilliant sense of frenetic energy, the film works on a premise that removes establishing shots as scenes are witnessed fresh without the comfort of knowing. Character action & motivation initialize each moment and desire evolves as key throughout. As a whole it has a sense of fusion akin to its jazz soundtrack; once the viewer becomes accustomed to its language it feels far more natural and less forced than conventional cinema can.

The central focus of this film revolves around the hitman, No. 3 Killer Hando, played with a gleeful psychosis by the gerbil faced Jo Shishido. Manipulated by all, he finds himself agreeing to make an impromptu hit for a suicidal temptress named Misako (Mari Annu). When all turns sour, the bigger picture of misinformation becomes clearer, only for Hando to find himself the target of the mysterious No. 1 Killer.

The themes of manipulation highlight the auteur at his best. Filled with iconic imagery, a plumb-line of observation links minutia of detail such as Misako?s car accessorized with a dead needle-staked bird, with her pinned butterfly filled apartment and her attempt to poison prick Hando. Happenstance & desire mix with the elemental worlds of water, sex and temptation. While the perverse is treated with the kink of humour it deserves and the seriousness of shock it cannot live without.