Takeshis’ 2005

Two intertwined stories unfold around two versions of the same man: Beat Takeshi and his look‑alike, Mr. Kitano, both brought to life by Takeshi Kitano. The film follows these two figures as they drift through a shared, paranoid cinema of dreams and reality, where the lines between actor and persona, dream and deed, become increasingly blurred.

In the world of film and television, Beat Takeshi stands as a towering showbiz figure, surrounded by a recurring troupe who inhabit his life in double roles. His girlfriend Kotomi Kyōno appears beside him, his manager Ren Osugi keeps the wheels turning, and his former stand‑up partner lingers in memory and performance, a constant echo of who he used to be. The film also briefly revisits the tense, bromantic bond with Susumu Terajima, grounding the meta‑narrative in real faces that feed the dreamlike sequence.

Kitano’s other half enters the frame in a clown’s garb among the TV crew, a plain man who longs for the aura and charisma of the movie star. This version of Kitano longs for validation and finds himself autograph-seeking from the very idol he admires, a moment that cements their strange proximity. The two Strands collide as the ordinary man—who works as a convenience-store clerk and moonlights as a taxi driver—begins to blur the borders between his own life and the movie world he imagines. Nightmares bleed into daylight as surreal imagery flashes through his days: looming figures, dead bodies in roadside scenes, almost ritualized repetitions that threaten to become his reality.

A cascade of violent fantasy erupts when the ordinary man reaches for a gun amid a neighborhood quarrel, setting off a chain of killings that ripple through his world. The film segues into a dizzying, dreamlike sequence where underground nightclubs, shadowy gun battles, and a feverish sense of lawless adventure push him toward an alternate, almost island‑paradise epoch—evoking the mood of the director’s tougher, kinetic frames. Throughout this fever dream, the visual motifs recur: the odd caterpillar in a bouquet, a Taishū engeki female impersonator, tap dancers in a rehearsal space, a transvestite chanson singer, a pair of fat twins, and scenes in a ramen shop that loop and reappear in ever‑shifting contexts. Taichi Saotome and Akihiro Miwa anchor these recurring images with their own iconic touches, adding layers to the spectacle.

As the daydream intensifies, the boundary between the two Takeshis dissolves and the two halves of Kitano’s world collide more directly. The “Beat” persona seems to claim a rising heartthrob charisma, while the ordinary man acts out in ways that mirror a movie star’s legend. The fantasy collapses back into the ordinary life—until a stark trigger cuts through the reverie: the autograph greeting, “Hello Mr. Clown!” This moment shivers through the film and appears to seal the fate of the Beat Takeshi figure, even as the camera lingers on him in a close‑up that suggests the entire sequence might be a dream inside a dream.

The ending circles back to the bookends of the narrative—those opening images of an American soldier and the gun battle that began it all—leaving the audience with a lingering, unresolved question: is what we’ve witnessed a vivid dream of Beat Takeshi, or a dangerous, self‑made reality for Mr. Kitano? The film closes on a hypnotic note, inviting viewers to piece together what is real, what is performative, and what remains forever out of reach in the murky, glittering world of Takeshis’.