polysicsarebest This is one of the best films ever made. An intense fever dream of surrealism, dream logic, and a beautiful painter's touch. I've never seen any other films that could straight-up be called "avantgarde action"; I wish there were more films like this...What really strikes me are the colors, though the story (which is relatively straightforward; ignore the other reviews) is one extremely philosophical, awesomely existential dilemma after another.Brilliant in every way a movie can be. Masterpiece. Hated by the same people who hate Izo and El Topo (aka people who can't wrap their head around true brilliance).Don't understand how ANYONE could hate on this film, even if they didn't "get it" all. The visuals alone are reason enough to see this.

GyatsoLa I don't think i've ever seen a movie so guaranteed to confuse, befuddle, but still enthrall. I won't even begin to summarise the plot, because I'm still trying to work out what it is. But ultimately, the plot is irrelevant as this is a pure exercise in style - and what style! Its full of dazzling images (and some that probably should have been cut out), most owing more to opera and noh theater than the cinema. Its overlong and self indulgent, and constantly teether's at the edge of pretentiousness. But its worth seeing for the sheer daring of Suzuki who throws out all the rules of film making while still showing a deep love of the art.

nedwalton I first saw the preview for Pistol Opera on several Japanese DVDs I had the pleasure of viewing. It was the vivid imagery that captured my attention not to mention a very attractive leading lady. Now what followed was an amazing journey through the world of Stray Cat, a hired gun with a love for her pistol, engaged (reluctantly at first)in a competition to be #1 among the top gunslingers. Simple enough, right? WRONG!!!! What follows is a film that keeps your fingers on the rewind button, your mouth wide open and your eyes ready to bug out of your skull. A simple skeleton of a plot is covered with layers of sexuality (subtle, and in your face), violence, and just a whole bunch of WTF (WT is for "What The" you can figure the rest out) moments. I enjoyed it in the same way that we all have our guilty pleasures, but I will admit that some of the scenes and displays may go beyond past limits you may have set for yourself. Viewer Discretion is ADVISED!!

evillights The summation of Suzuki's life's work. Will be perceived by the lazy audience -- such as the attendees of its screening at the 2002 Seattle International Film Festival -- as a series of style-tableaux and disappoint those hoping for a gem of a story, such as in 'Elling,' a piece of work fit to wrap a fish in. Much more than that -- Suzuki is one of the great Japanese auteurs of all time, -- his reputation hasn't grown to the stature of the big three (Kurosawa / Ozu / Mizoguchi) due to the surface inscrutability / surface "style" of his work. The truth of the matter is that there is great depth in the Suzuki canon. His "style" must be no more mistaken for simple "flashy cool" than one would regard Godard's work. 'Koroshi no rakuin' ('Branded to Kill') is a stunning tour-de-force that examines the emasculation of the male, vivisecting cinematically a one-time master-assassin's slide into madness. 'Pistol Opera' -- the "spiritual sequel" of 'Branded to Kill' (working title was 'Koroshi no rakuin 2') examines the theatricality of assassination -- that is, one of the manifestations of an individual's or society's pull -toward- a universal order. Another manifestation of which is a director's mise-en-scene, -- shot compositions are as meticulously constructed in Suzuki as in Kubrick -- the 1.33:1 aspect ratio of 'Pistol Opera' allows Suzuki the greatest control of the frame-"tableau." (cf. also Kubrick's 1.33:1 framing, employed for all films from 'The Shining' on) 'Pistol Opera' is one of the great masterpieces of our modern cinema.