Inspired by symbolism in the frame: Takeshi Kitano´s Dolls (2002)

Figure 1: Takeshi Kitano, Dolls, Sochiku Company Limited, Japan 2002.

The film Dolls (2002, Takeshi Kitano) is undoubtedly Kitano's (b. 1947) most visually astounding and painterly film (Harwood, 2017). The film opens and closes with a bunraku performance, a traditional Japanese puppet theatre where dolls act out a chanted dramatic narrative. The bunraku performance in the movie acts out a love-suicide-themed history and serves as a symbolic foundation for the rest of the story. Kitano mentions that the film is allegorical, and one could view it as bunraku in film form (Jagernauth, 2005).

A prominent aspect of the main character's story is the couple, tied together, walking through the seasons in an almost aerial perspective. Here, one can compare visual perception to the effects of being in an ethereal space (Pöppel et al., 2016, p. 1). Space and vivid colors are paired, and the absence of shadows is shot in outdoor high-key lighting, creating a dynamic emotion and contrasting with the costume's colors. In spring, they walk surrounded by Yoshino Cherry Trees (figure 1). The pink color of the flowers creates visual contrast with Sawako's yellow costume. Another season depicts maple leaves flowing around, which give a sense of autumn and time passing. Here, Sawako is wearing a red outfit. Snow creates a dramatic contrast with the red rope and the red maple leaves paired with white (snow) on the ground as winter comes, and they are still walking. One can feel a strong emphasis on the cycle of nature can be felt. In the end, we see them taking on the role of puppets as they are now fully clothed in the colorful costumes from bunraku and the two lovers follow the tragic ending of the play.

Clothing plays a significant role in the characterization. The asymmetrical silhouette represents a directionless movement in life, as seen in Matsumoto's unfitted wool suit. In addition, the fabric appears worn down, reflecting their relationship shaped by trauma (Harwood, 2017) (figure 2).

Figure 2: Takeshi Kitano, Dolls, Sochiku Company Limited, Japan 2002, https://genkinahito.wordpress.com/2016/03/14/dolls-%E3%83%89%E3%83%BC%E3%83%AB%E3%82%BA-2002/.

The moon is full in Sawako´s dream scene and waxing in another setting. Generally, the moon symbolizes diversity because of the fragmentary nature of its phases. Here we might see a connection with Sawako´s condition as she has a brain injury, indicating that she is fragmented. Her personality is not the same as it was. Moon as a symbol is also related to the resurrection. There is also a mythic belief that the moon´s phase refers to a person´s death and reincarnation. Death is, therefore, not an ending but something cyclical in nature. The idea of journeying to the moon after death is a preserved belief in some cultures (Cirlot, 2001, p. 215-216). We see Sawako blowing through a mouthpiece, making a small ball jump up and down. In that particular still, we see the full moon shot in a way where it seems as if something is jumping at the moon, trying to reach it.



On two occasions, there is a close-up of a motionless, red and black colored butterfly on the ground. Sawako is looking at it in the hospital after she has suffered from brain trauma. We see the same butterfly again when Matsumoto runs over it with his car after visiting her in the hospital. The butterfly is a symbol of the unconscious mind as attracted to light. The meaning is more connected to life than a state beyond earthly existence. In eastern philosophy, the intention connects to marriage and marital bliss. Therefore, we might be able to interpret the dead butterfly as the absence of Sawoko´s unconscious mind or perhaps as the trauma of her and Matsumoto´s relationship (Cirlot, 2001, p. 35).

In the second story, we see a shot of swimming orange and white fish (seemingly Koi fish) in a pond in his garden (Jagernauth, 2005) (figure 5). In some cultures, fish are regarded as animals spinning out the cycle of life after the pattern of the lunar zodiac (Cirlot, 2001, p. 106-107). There are varieties of Koi fish kept for decorative purposes in outdoor Koi ponds or gardens, which we see in the story of Hiro and Kyoki. The Koi fish is a symbol of strength and masculinity in Japan. It is known there as the "warrior's fish" (Lane, "Koi Fish"). Hiro and his other yakuza friends see themselves as fighters or warriors. The fish swim in the scene shot at Hiro's house/garden, whereas in Sawako's dream scene, the fish appears dead.

In addition to the red color being prominent in the mise en scène, it ties some scenes together in the film. For example, a red maple leaf comes on the screen when someone dies. There is a sense of the leaf representing something cyclical, as can be seen when it flows down a river after Hiro dies. In Sawako's dream scene, we see complementary colors in dark shadows, where greens, pinks, yellows, and blues are prominent. In other scenes from their story, especially night scenes, there are many neon colors, pink being a prominent one, creating a stark contrast with the night as a background (figure 4). We sense emotional attributes in colors (german expressionism and surrealism). The method uses exaggerated color in the scene to interpret strong emotion, something beyond the senses, and something subjective (Corrigan & White, 2018, p. 333).

Figure 4: Takeshi Kitano, Dolls, Sochiku Company Limited, Japan 2002, https://www.twipu.com/Women_In_Film_/tweet/1174338510872043520.

Symbols such as fish, moon, butterfly, flowers, color, and costumes seem similar signifié in Dolls (2002). They indicate the natural cycle of life, death, and sadness, perhaps because most of them are a part of nature.


References

Bao, Y., Fang, Y., Lin, X., Lei, Q., Pöppel, E., Wang, Y., & Yang, T. (2016). Aesthetic preferences for eastern and western traditional visual art: Identity matters. Frontiers in Psychology, 7, 1-8. https://doi.org/10.3389/fpsyg.2016.01596

Cirlot, J.E. (2001). A dictionary of symbols, (J. Sage, Trans.). London, England: Routledge & Kegan Paul Ltd.

Corrigan, T., & White, P. (2018). The film experience: An introduction. Boston, Massachusetts: Bedford/St. Matin´s

Harwood, T. (2017). A story in 3 parts: A study of Takeshi Kitano´s cinematic style [Webpage]. Retrieved November 12, 2019, from https://www.grailed.com/drycleanonly/takeshi-kitano-cinematic-style

Jagernauth, K. (2005). Dolls (2002) [Webpage]. Retrieved November 12, 2019, from https://www.popmatters.com/dolls-dvd-2496235915.html

Koi fish meaning [Webpage]. (n.d.). Retrieved November 12, 2019, from https://www.koi-pond-guide.com/koi-fish-meaning.html

L Hurrell (2016, March 14). Review: Dolls (2002) [Web log comment]. Retrieved from https://www.filmdoo.com/blog/2016/03/14/film-review-dolls-2002/