Takeshi Kitano's - Dolls - DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review Takeshi Kitano Dolls DVD Review

Japan 2002

Dolls is one of the most beautiful films ever to come out of Japan and one of the single most original pieces of art within cinema. Sadly, it was a huge flop at the box office in Japan and was ignored by the west. Not surprisingly really, as Dolls is conceptual in almost any aspect, which makes it very hard to approach unless you are familiar with the ideas behind Dolls and Kitano’s motifs.

Kitano initially sat out to make a film with beautiful colors and about people who loved each other. But as the idea progressed, the project began involving the motifs of Chikamatsu, narrative elements of Bunraku theatre, Japanese symbolism and rituals, the seasons, color-coding – all to carry a single memory from Kitano’s childhood. Kitano complicated matters further, by, as always, experimenting with new approaches to narrative structures and ellipses.

On the surface, Dolls is an allegory about love, with the typical Kitano motif of balance, here between giri (duty) and ninjô (passion). Below the surface, Dolls is a celebration of love, life, death, nature, examination of Chikamatsuian fatalism and shinjô versus Kitano’s fatalism and much more.

With so much crammed into one film, it is hard not to be flawed, and Dolls is a flawed film, it would be wrong not to admit it; even Kitano is unhappy with the result. But it is hard to put the finger on any one thing and say, “this is why it fails”. Perhaps it is so, because it doesn’t fail. Perhaps we say it fails, because we are used to one form of Kitano and he wants to renew himself constantly. Perhaps we expect too much, perhaps we expected to little, perhaps a lot of things. But fact is, that regardless how flawed it is, regardless of all the perhaps’, once one decipher its codes, it all comes together in something so beautiful, so overwhelming, that one can’t do anything that to give in.

But how does one rate Dolls? Should I consider the casual viewer, who ignored and dismissed it? Should I approach in favor of those who will decode / have decoded it and thus is drawn to its sheer genius? Should film which demands dedication from its viewers be rated lower or higher than film that just entertains? It all comes down to the question, “How does one rate art?”

Where the casual viewer ignored and dismissed it, those decoding it can’t seem to let it go and constantly return to marvel at its sheer genius. I decided not to rate it, but let what Tony Rayns wrote about Kitano, in Sight and Sound (6/03), end this brief review, as Dolls for better and worse is a piece of art.

“The sheer idiosyncrasy of the film bespeaks the singularity of the position Kitano has carved for himself as a director… He makes the best he's able to of each project that comes his way, greeting successes with self-deprecatory modesty and shrugging off failures while gearing up for the next one.”

Henrik Sylow

Posters

Theatrical Release: September 5th, 2002 - Venice Film Festival

Reviews More Reviews DVD Reviews

DVD Comparison:

Madman (Director's Suite) - Region 4 - PAL vs. Seville Pictures - Region 1- NTSC vs. Bandai - Region 2- NTSC vs. Panorama - Region 3 - NTSC vs. Artificial Eye - Region 2 - PAL

Big thanks to the Henrik Sylow and Mark Wilson of Nicheflix.com for all the screen captures.

(Madman (Director's Suite) - Region 4 - PAL TOP LEFT vs. Seville Pictures - Region 1- NTSC TOP MIDDLE vs. Bandai - Region 2- NTSC TOP RIGHT

(Panorama - Region 3 - NTSC - BOTTOM LEFT vs. Artificial Eye - Region 2 - PAL - BOTTOM RIGHT)

DVD Box Covers

Distribution

Seville Pictures

Region 1 - NTSC

Bandai Entertainment

Region 2 - NTSC

Panorama Entertainment

Region 3 - NTSC

Artificial Eye
Region 2 - PAL

Distribution	Madman Region 4 - PAL	Seville Pictures Region 1 - NTSC	Bandai Entertainment Region 2 - NTSC	Panorama Entertainment Region 3 - NTSC	Artificial Eye Region 2 - PAL
Runtime	1:48:56 (4% PAL speedup)	1:48:44 (taken from PAL source)	1:53:36	1:53:20	1:48:55 (4% PAL speedup)
Video	1.85:1 Original Aspect Ratio 16X9 enhanced Average Bitrate: 6.50 mb/s PAL 720x576 25.00 f/s	1.78:1 Original Aspect Ratio 16X9 enhanced Average Bitrate: 4.95 mb/s NTSC 720x480 29.97 f/s	1.78:1 Original Aspect Ratio 16X9 enhanced Average Bitrate: 6.55 mb/s NTSC 720x480 29.97 f/s	1.78:1 Original Aspect Ratio Average Bitrate: 9.1 mb/s NTSC 720x480 29.97 f/s	1.85:1 Original Aspect Ratio 16X9 enhanced Average Bitrate: 5.63 PAL 720x576 25.00 f/s
	NOTE: The Vertical axis represents the bits transferred per second. The Horizontal is the time in minutes.
Bitrate: Madman
Bitrate: Seville + Bandai
Bitrate: Panorama + Artificial Eye
Audio	2.0 Dolby Digital Japanese, 5.1 Dolby Digital Japanese	Japanese (Dolby Digital 2.0)	Japanese (Dolby Digital 5.1), Japanese (Dolby Digital 2.0)	Japanese (Dolby Digital 5.1), Chinese (Mandarin) (Dolby Digital 5.1)	Japanese (Dolby Digital 2.0)
Subtitles	English, None	French, English, None	Japanese, English, None	Chinese (traditional), English, None	English (16X9 friendly) and none
Features	Release Information: Studio: Madman Aspect Ratio: Widescreen anamorphic - 1.85:1 Edition Details: • Interviews with... • Takeshi Kitano (15:21) • Yohji Yamamoto (10:03) • Miho Kanno (3:57) • Hidetoshi Nishijima (3:43) • Behind the scenes (18:04) • Venice Film Festival (8:02) • Original Theatrical Trailer (1:39) • Stills Gallery • 20 page essay booklet by Henrik Sylow DVD Release Date: May 17, 2006 Amarey Chapters 13	Release Information: Studio: Seville Pictures Aspect Ratio: Original aspect Ratio 1.85:1 (16x9) Edition Details: None DVD Release Date: November 16th, 2004 Keep Case Chapters: 18	Release Information: Studio: Bandai Aspect Ratio: Original aspect Ratio 1.78:1 widescreen anamorphic Edition Details: Featurette(s) Interview(s) Trailer(s) DVD Release Date: March 28th, 2003 Keep Case Chapters: ?	Release Information: Studio: Panorama (Hong Kong) Aspect Ratio: Original aspect Ratio 1.78:1 widescreen NON-anamorphic Edition Details: None DVD Release Date: September 8th, 2003 Keep Case Chapters: 12	Release Information: Studio: Artificial Eye Film Company Ltd. (United Kingdom) Aspect Ratio: Original aspect Ratio 1.85:1 (16x9) Edition Details: Additional material: • Takeshi Kitano interview (29: 50) • Miho Kanno interview (3:55) • Hidetoshi Nishijima interview (3:43) • Yohij Yamamoto (10:06) • Text on Chikamatsu and Bunraku • Takeshi Kitano filmography • Japanese trailer (1:38) DVD Release Date: November 24th 2003 Keep Case Chapters: 12

Recommended Reading for Japanese Film Fans (CLICK COVERS or TITLES for more information)

The Japan Journals : 1947-2004,

by Donald Richie

The Midnight Eye Guide to New Japanese Film
by Tom Mes and Jasper Sharp

Kon Ichikawa (Cinematheque Ontario Monographs)

by James Quandt, Cinematheque Ontario

Shohei Imamura (Cinematheque Ontario Monographs, No. 1)
by James Quandt

Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema (Midland Book, Mb 469)
by David Desser

The Films of Akira Kurosawa by Donald Ritchie

Ozu by Donald Ritchie

A Hundred Years of Japanese Film by Donald Richie

Check out more in "The Library"

Comments:

ADDITION: - Madman - PAL - July 06' -
The transfer is identical to the one by Artificial Eye, but has the same problems with the 3% cropping to 1.85:1. Colors are strong, details sharp. A beautiful transfer.

Additional material is also identical to the ones on the DVD by Artificial Eye, with the exception of a 20 page essay on Dolls by Henrik Sylow of Kitano Takeshi .Com, where Sylow discusses Kitano's approach to Chikamatsu, Japanese culture and the complexity of the mise-en-scene and various motifs.

- Henrik Sylow

***

ADDITION - Seville Pictures - Region 1 - NTSC (Dec -04) - A DVD5 PAL to NTSC transfer, having the exact colour scheme of the Artificial Eye DVD and the exact subtitles. There are no extras, but lots of halos, edge enhancements and the occasional ghosting. A crime to put this film out in such a discount version.

****

The picture of Artificial Eye is the brightest and sharpest, but compared with Bandai, there is a difference in colours. The Bandai is more balanced and Artificial Eye appears "yellowish" and with higher contrast. The Panorama picture just looks bad compared to these other two.

But there is a major problem with the Artificial Eye image. It is severely cropped: 3% left and right and almost 8% bottom versus Bandai. That is 14% less picture information. A 3% safety scan and then masking it from 1.78:1 to 1.85:1 would answer the cropping, but this is simply unacceptable.

The 2.0 mix of Artificial Eye is very center speaker only, while the Panorama 5.1 and Bandai is wider using all channels and is approx +3 DB higher.

The additional material of Artificial Eye is superb. The interviewer has done his research well and Kitano elaborates on key elements towards a deeper understanding of the film. It is in 4:3 and consists of several minute long answers. Where the Bandai has both interview and a featurette, its without English subtitles.

The subtitles are on both versions very good, but where the subtitles of the Panorama are correct, the AE and Bandai subtitles, both from the same source, are more English and literate.

The German 2-Disc “Dolls - Collector’s Edition” is completely identical in picture quality and framing with the Artificial Eye edition. It comes with additional German sound, even a DTS track and has German subtitles only. As additional material disc 2 begins with the interviews also present on the Artificial Eye DVD, continuing with a “behind the scenes” featurette (18:05) and “impressions from Venice 2002” (8:05). To round it all up, it has a very detailed biography and Filmography of cast and crew.

The French 2-Disc “Dolls - Edition Collector” is almost completely identical to the German DVD (just alternate cover and menus, with Japanese sound and French subtitles only). The Benelux and Spanish “Dolls” also have the same additional material, but manages to keep it all on one disc, which reduces picture quality

Henrik Sylow

DVD Menus

Madman (Director's Suite) - Region 4 - PAL

(Seville Pictures - Region 1- NTSC - LEFT vs. Bandai - Region 2- NTSC RIGHT )

(Panorama - Region 3 - NTSC - LEFT vs. Artificial Eye - Region 2 - PAL - RIGHT)

Subtitle Samples

(Madman (Director's Suite) - Region 4 - PAL TOP vs. Seville Pictures - Region 1- NTSC 2nd vs. Bandai - Region 2- NTSC 3rd vs. Panorama - Region 3 - NTSC - 4th vs. Artificial Eye - Region 2 - PAL - BOTTOM)

Screen Captures

(Madman (Director's Suite) - Region 4 - PAL TOP LEFT vs. Seville Pictures - Region 1- NTSC TOP MIDDLE vs. Bandai - Region 2- NTSC TOP RIGHT

(Panorama - Region 3 - NTSC - BOTTOM LEFT vs. Artificial Eye - Region 2 - PAL - BOTTOM RIGHT)

DVD Box Covers

Distribution

Seville Pictures

Region 1 - NTSC

Bandai Entertainment

Region 2 - NTSC

Panorama Entertainment

Region 3 - NTSC

Artificial Eye
Region 2 - PAL

Hit Counter

Report Card:

Image:	Bandai
Sound:	Panorama / Bandai (tie)
Extras:	Artificial Eye
Menu:	Bandai

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