Naturally, real life gangsters aren't generally very romantic figures, which might be easy to forget with even some movies that aim to be more realistic inevitably portraying them as charming underdogs. Which isn't necessarily bad--gangsters are people, too, after all, and may be as complicated as anyone else. But I am thankful now and then for a movie like "Beat" Takeshi Kitano's 1990 film 3-4X October (３－４Ｘ１０月, released in English speaking countries under the really dumb title Boiling Point). Here's a movie that leaves you with the impression that yakuza are chiefly ugly-spirited, frightening, and pathetic. It's a very cold, cruel film but has a laugh in almost every scene.
The title refers to a baseball game where we're introduced to the main characters at the beginning of the film, the title's irrelevance to what happens in the film a reflection of its nihilism, one of the reasons Boiling Point is not an appropriate title. As a title, Boiling Point suggests someone becomes violent after a slow build-up of circumstances but no-one really has that overrated thing called an arc in this film, except possibly the main character.
And with him it's hard to tell. We first see Masaki (Yurei Yanagi) expressionless in the almost total darkness of an outhouse, the first shot of the film, before we see that the outhouse is located on the edge of a baseball field. Masaki remains expressionless for almost the entire film and says little. He and some of the other players on one of the baseball teams work at a gas station and it's there the trouble begins when a gangster is angered when Masaki doesn't clean the hubcaps of his car quickly enough.
The manager of the baseball team is a former gangster and takes a personal interest in the matter. Masaki takes his and anyone else's advice unquestioningly. When he's told to find a girlfriend, he immediately asks out a nearby waitress, Sayaka (Yuriko Ishida), who happily becomes his girlfriend. They two seem well matched in that neither of them ever say very much. In one of the funnier scenes in the film, the two are riding a motorcycle when a car full of gangsters appears beside them, taunting them, before slamming into a parked car while Masaki and Sayaka ride on without exhibiting any reaction.
Eventually the manager gets in over his head and takes a beating from his former yakuza syndicate. He vows revenge and intends to go to Okinawa to buy a gun but, since he can barely move due to his injuries, Masaki and his friend Kazuo (Dankan) go instead. It's here that "Beat" Takeshi enters and steals his own film as one of the most impressively rendered psychopaths I've ever seen in a movie.
This sequence seems pretty clearly influenced by Blue Velvet and Takeshi seems intent on outdoing Frank Booth--and he does give him a run for his money, I have to say. Obviously Masaki is less emotionally vulnerable than Kyle MacLachlan's character but the way Takeshi's gangster character, Uehara, takes him under his wing for a chaotic ride with a few friends definitely feels like a version of what happens in Blue Velvet. Uehara displays a similar disregard for sexual boundaries that seems designed to humiliate people around him possibly to subjugate them or possibly just out of pure, idle sadism.
He compulsively rubs Kazuo's leg and genitals and then abruptly orders his right hand man to have sex with his girlfriend and cut off his own finger. Earlier in the film, we see the baseball manager giving the typical strong-arm tactic of the unanswerable question--asking a guy he has at his mercy to call him an insulting name. The point is to make the victim frantically try to figure out a way to respond that's not insulting, knowing there's not a right answer not really helping. Uehara takes it to another level through his manipulation of his friend and his girlfriend, whom he can't stop hitting for the rest of the film. She responds with angry words but seems bound to him somehow.
The film has a lot of references to other yakuza films and even one odd fishing sequence that seems to parody Yasujiro Ozu. Reminiscent of Ozu, throughout this film Takeshi shows a preference for low shots, though he tends to shoot from more of a distance than Ozu often puts a lot of empty space above the actors' heads. This is another of the many things that emphasises the characters' ineffectuality. In one strikingly emblematic scene, Masaki hits a home run after practising swinging his bat a long time only to lose the game for his team when he runs faster to home plate than his team mate ahead of him. No matter what he does, with however much effort, he's defeated by his misunderstanding of a basic rule.
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Behind a beige and golden mist they stood.
Unmoved by buns or bagel bites they sang.
A resolute and silent swath withstood.
A growing glut of eyes reward the hanged.
The mountain dwarfed by grass digests the club.
The taste of sugar blue announced the fog.
Distracted eyes are shaking for the dub.
Recorded words resound through glowing bog.
In sep'rate currents air divides a port.
The flash of storm reveals a grin's approach.
Along a flattened space the stars contort.
A dye sets out a claim inside the coach.
A pamphlet tangled spokes and stopped the cab.
Asbestos eyes pervade the penthouse scab.