Izo :: SimplyScripts Screenwriting Discussion Board

This is the sixth Takashi Miike film I’ve seen. I’m a huge Miike fan so I decided rather than checking out one of his more popular films (Gozu, One Missed Call), I’d challenge myself with one of his lesser known films, Izo. I say challenge because, due to reasons I will go on to elaborate, Izo was, to say the least, not well received and turned off even some of most diehard Miike fans. I figured the majority of reviewers watched Izo expecting another Audition or Ichi The Killer and felt I stood a better chance. I also understand that Miike deliberately strays from conventional methods of storytelling, which is one of the reasons why I enjoy his films so much. Unfortunately with Izo, though it pains me to say so, I believe he has strayed too far.

The film opens with the character of Izo, a ruthless swordsman, being executed for crimes unknown. He soon returns as a vengeful spirit, with the ability to jaunt through space and time, intent of destroying all of mankind. Throughout the film, a mysterious organization, led by Takeshi Kitano aka Beat Takeshi, tries to stop him. This is by no means the plot of the film. The truth is there is no plot. The film essentially chronicles Izo’s battles with his victims ranging from SWAT officers and Yakuza gangsters to children to vampire villa salesman and an earthly embodiment of Buddha.

The lack of a clear narrative is the ultimate downfall of Izo. While the first few battles are entertaining, the film gradually spirals into tedium. The addition of cryptic philosophy regarding karma and the apparent futility of life itself only contributes to the incoherence. Occasionally, a guitar player appears out of nowhere to scream over WWII clips. It’s like There’s Something About Mary from hell. At first, I thought the philosophic rants could help me understand the film better but its standpoint is so ambiguous, one is bound to drive themselves nuts trying to find it. Overall, it’s better to dismiss Izo as pointless, gratuitous violence. There’s a good chance the film is trying to say something but the thought of Izo being one big allegory offends me, even coming from Miike.

However, while it completely fails to tell a story, Izo is an excellent example of Miike’s exceptional filmmaking abilities. The landscapes throughout the film are beautiful and rich with atmosphere, ranging from green fields and shimmering lakes to gloomy caverns and back alleys. All of which are captured through superb cinematography. And, of course, the battles are brutal, over-the-top, and bloody as hell, easily putting Kill Bill to shame. If you have the patience, the film is actually worth skimming through for a few crucial swordfights (my personal favorite pitted Izo against a huge black guy with a hooked staff).

All in all, Izo is, at times, beautiful, thoughtful, and downright cool but at others, tedious, mind boggling, and, most of all, boring. Ultimately, the absence of a plot prevents Izo from being a completely satisfying film. Overall, Izo has some great moments but is, for the most part, a disappointment.