Story: Young executive Matsumoto (Hidetoshi Nishijima) is forced to marry his employer’s daughter. His true love Sawako (Miho Kanno) is destroyed by this and attempts suicide just before the wedding. When Matsumoto hears this news he leaves his arranged bride to be waiting and seeks out Sawako. Upon arrival he finds that Sawako’s mind was shattered from the failed suicide attempt and she is left with little more than a shadow of her former self. Matsumoto, out of guilt and love, decides to remove Sawako from the hospital and the two embark on a tragic crusade to regain the lives they’ve lost.

Review: Takeshi Kitano films typically involve themes of people in search of something, DOLLS is no different. From its introduction we’re shown a tale of doomed lovers through a Bunraku puppetry exhibition. This display parallels the relationship of the films two focal points, Sawako (Miho Kanno) and Matsumoto (Hidetoshi Nishijima). Besieged by a personal tragedy that leaves Sawako a vacant shell of her former self, the two begin on an open ended journey to find the connection they once had. As they proceed in their aimless travels they come in very brief contact with others, who too are on their own quest to one degree or another, and the films focus temporarily shifts directions bringing us into one different world after another.

At times DOLLS is arguably one of Kitano’s best and worst films ever. The pacing is different than anything previously seen from his body of work. All the qualities that make this film one of the best and worst, works equally in favor of both opinions. Never before have I seen such attention to detail expressed in a Kitano film. There are countless shots throughout that linger for such long periods of time that the casual viewer may feel as though he’s supposed to be searching around the frame for some sort of hidden meaning. This, perhaps, is the result of a Director who does his own editing. In the same instance, though, one could easily loose one’s self in the beauty of the visual aspect and praise Kitano for giving us more than we’ve ever had before. Consider it a gift from the man and you’re sure to find yourself praising his genius, but condemn it as poor editing and you’re not likely connect with the piece.

In defense of the side that could not connect, there’s more than one point in the film where things do seem to loose focus. With the backbone of doomed love not strong enough to support a feature film, we’re given side-stories that seemingly come out of nowhere and don’t quite have anything to do with our two protagonists. There’s little setup involved with these new characters, particularly the tale of the obsessive j-pop fan, and the afterthought that these sidesteps leave one with is more of a collection of shorts then a connected film. On the opposite side of thinking, though, the thin thread that binds these three tales together is apparent, albeit in a brief, passing manner, and during post contemplation one can view Kitano’s storytelling in the same way one views a complex piece of jazz. At times there’s lots of seemingly random notes and free-form movement but when that hook comes together and all the musicians are on the same page it’s breath taking.

With a mildly flawed storyline it’s reassuring to see that we’re compensated with a film that’s aesthetic stunning. Kitano’s ever present use of color is here in spades. Throughout, red seems to be the thematic color of life, death, and ultimately, of change. Many sequences are so beautifully over saturated with the shades of the seasons that the look can be easily perceived as homage to the Technicolor days of yesteryear. The camera work is brilliant and each structured shot is like an elaborate still life.

With this film being both lauded and cast aside I think that many owe it to themselves to find it, view it, and make their own decision. Lacking in the physical violence that many have come to expect from one of Kitano’s works, this film opts for violence on a more emotional level. The tragedy is there though and I assure you, Takeshi Kitano doesn’t make “bad films”.