Surname 4 kicking the hornets nest is an existential threat to his clans

Surname 4 kicking the hornets nest is an existential

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Surname 4 kicking the hornet’s nest is an existential threat to his clan’s business, since his business is violence. Needles, b ig swords and guns, as well as hooks go to work on everyone who crosses path with Kakihara in shockingly imaginative ways and it is evident clear that everyone is going straight to hell ( Hallam 208) . His actions only rivaled by Ichi occur in an extremely violent, sadistic, and hopeless universe that most people would never visit. Surrounding and drowning it all, is the sickness, torture, and sadism. The character wallows in squalor and hurt, and finds pleasure in it while inviting others to take part it in an otherworldly fashion. Reality When the two titans collide, their dreams fail to be realized and they fall more desperate than before. For Ichi, Kaneko was his source of hope and his death reduces him to a shell of his former self – a lost soul without a sense of direction. On the other hand, Kakihara is also desperate because Ichi breaks his imagination that Ichi as a sadist will satisfy him as a masochist ( Ciecko 138). Therefore, Kakihara pierces his eardrum, and leap to his own death. However, through his imagination, Ichi satisfies his desire, and he dies with satisfaction. The director plays these two scenes as comedy, and while they are disgusting, they are staged with breakneck vitality that transcends realistic boundaries ( Hallam 214). In the final scene, Kakihara envisions that Ichi is his man, only to face a mirror image of his own pathology: ultra-masochism masked by ultra-sadism. Their final battle is therefore, unresolved and necessarily symbolic. Transition It is evident that all characters are desperate in this make-belief universe. Everyone is looking for emotional attachment to escape his or her sad realities. Kakihara’s boss tortured him
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Surname 5 to find pleasure; Kakihara sought the torture as ways of finding sexual and physical satisfaction, while Ichi commits violence to mask his cowardly attitude ( Hallam 215). The film has not typical “bad guys” or “good guys” but instead, a host of complex personalities with different motivations. Kakihara for instance, is without undoubtedly the most realistic and best depiction of a sociopath – a dead-eyed, asexual psycho who derives joy in pain and does not value human life. However, Ichi is the most unusual and fascinating character – a whimpering, gutless, coward in a superhero attire who unleashes unreasonable outbursts of violence when distressed. Miike shot the gory Ichi like a comic – harsh, bold shots and camera angles with misleading depth-of- field – a tactic rendered energetic thanks to overflowing violence. However, below the flow and
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  • Fall '15
  • Mr. Njoroge
  • Takashi Miike, Ichi, Shinya Tsukamoto, Ichi the Killer

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