{"id":53515,"date":"2026-06-12T15:00:50","date_gmt":"2026-06-12T19:00:50","guid":{"rendered":"https:\/\/www.cinema-crazed.com\/blog\/?p=53515"},"modified":"2026-06-12T12:28:39","modified_gmt":"2026-06-12T16:28:39","slug":"aesthetics-of-a-bullet-1973","status":"publish","type":"post","link":"https:\/\/www.cinema-crazed.com\/blog\/2026\/06\/12\/aesthetics-of-a-bullet-1973\/","title":{"rendered":"Aesthetics of a Bullet [1973] [Radiance Blu-Ray LE]"},"content":{"rendered":"

\"\"<\/a>An excitable patsy is sent into gang territory to incite a gang war in Sadeo Nakajima\u2019s 1973 film Aesthetics of a Bullet, now on Blu-Ray via Radiance<\/span><\/p>\n

<\/p>\n

The Film<\/strong><\/p>\n

TW: Sexual violence, domestic violence<\/span><\/p>\n

Aesthetics of a Bullet has one hell of a hook. The 1973 film has Yakuza<\/a> gang leaders wanting to gain territory and power, and they need a gang war to get it. But things are (relatively) peaceful. So they find a patsy: an excitable man hawking rabbits on the street. Given a gun, a suit, and a pile of money, he\u2019s pointed to go have a great time in the other gangs\u2019 territory. The idea: he\u2019ll cause trouble, get himself killed, and now an excuse for the initial gang to come in. Thus, sending in a low-level low-filter guy can bring a story in, trying to be a big shot and getting in with the yakuza crowd, knowing it\u2019s all meant to die.\u00a0<\/span><\/p>\n

Tsunehiko Watase is great, as said patsy. He\u2019s fantastic at playing a guy who is pathetic at heart, acting big and having to work both levels, both externally to the other characters but as an actor to us. To fulfill his duties, he has to back things up, turn talk into action, and the waffling there, along with a bit (but not too much) self-reflection, brings a solid character. Although one hard to fully back with his issues in sexual and domestic violence. But then again, the film is seen as a precursor to Taxi Driver, and we recognize the terrible nature of Travis Bickle and other Scorsese<\/a> \u201cheroes\u201d; that\u2019s the draw.\u00a0<\/span><\/p>\n

There\u2019s a wonderful sense of grimy, sweat-soaked vice to the film. Lust, gluttony, and violence push through in a dirty, uncomfortable glee. The film proved a bit much for the 1973 audience, wallowing in forgotten, nearly lost media, and I can see why. It\u2019s more direct, nastier, and forceful, not to mention rather violent, especially when it all comes to a head, than we often see of Japanese films of the era, even if they are Yakuza-based.<\/span><\/p>\n

Unfortunately, though I appreciate many of the aspects, especially the story, this didn\u2019t quite grab me. There\u2019s only so much to do without really pushing the story forward. There\u2019s a meandering quality to waiting for the next push. He knows why he\u2019s there, even if ignoring it, we know why, but no one goes forward. Much of that waiting in this is just over 90 minutes is spent with sex. So much sex. Unfortunately, not all of it is conscious; it is often degrading and angry.\u00a0 Maybe I was hyped in the comparisons to Taxi Driver surrounding the film, or just wanted more out of it.\u00a0<\/span><\/p>\n

\"\"<\/a><\/p>\n

The Package<\/strong><\/p>\n

Radiance Films<\/a> gives the Aesthetics of a Bullet its world Blu-ray premiere (as noted above, it was essentially lost media). The disc has the title imprinted. The case is a clear, shorter case with a reversible sleeve with original and new artwork by Filippo Di Battista. The removable OBI strip allows a clean cover if desired. A booklet fits within.<\/span><\/p>\n

Spine #173, limited to 3000.<\/span><\/p>\n

The Presentation<\/strong><\/p>\n

The transfer, the first time on Blu, looks amazing. Said grime and sweat are detailed and appropriately nasty. The colors of the red-light district and teh sheer business of the screen, it’s a busy frame, highlights the sharpness and color use. The sound, uncompressed mono, is notable. In Japanese with English subtitles.<\/span><\/p>\n

The Features<\/strong><\/p>\n

Robert Schwenetke (new)<\/span><\/span><\/p>\n

This appreciation by the director of Red and the later Divergent series films goes a long way to better understand and enjoy the film, post coming in blind watching. While I still don\u2019t love it, I like it more as Schwetke talks to the culture around it, how it relates to real Yakuza, and the structure and methods of the film to achieve Nakajima\u2019s goals. Solid stuff (30m)<\/span><\/p>\n

In English, no subtitles<\/span><\/p>\n

Kazayoshi Kumakiri (new)<\/span><\/span><\/p>\n

The assistant director of the film glows about working with Nakajima, stories from the set, and stories Nakajima gives. Seems like a good time, and loved hearing the tales.\u00a0<\/span><\/p>\n

(16m) In Japanese with English subtitles<\/span>\"\"<\/a><\/p>\n

Sadao Nakajima (archival; 2023)<\/span>
\n<\/span><\/span>Recorded for a program just before his death, Nakajima talks about his history and gets into the interesting stories Kumakiri mentioned. A nice bit. (20m)<\/span><\/p>\n

Booklet<\/span><\/span><\/p>\n

A stapled 36-page booklet. It contains three pieces. \u201cEscape Artist Dancing on a Tightrope\u201d by Olaf Moller is a new appreciation for director Sadao Nakajima, especially around this film. \u201cA Review of Aesthetics of a Bullet\u201d by Hayley Scanlon, from 2016, gives an appreciation of how it works as it does, and \u201cAn Analysis of Aesthetics of a Bullet\u201d by Rikiya Tayama is from 1973, providing a contemporary appraisal in the midst of all these modern takes.\u00a0<\/span><\/p>\n

Final Thoughts<\/strong><\/p>\n

Aesthetics of a Bullet has a lot going for it. A great setup and a big performance, a wonderful look. While it didn’t quite catch me, I can appreciate it, and others will connect more.\u00a0 The Radiance Blu-Ray is out now.<\/p>\n","protected":false},"excerpt":{"rendered":"

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