Week 7

The film Youth of the Beast was interesting in that it was so incredibly different from the movies that we previously viewed in the class. Seijun moves the plot along rather quickly in this film, focusing on the story rather than the growth of the characters. I like this method better than Ozu’s preferred way of allowing the characters to move the plot. Although Ozu’s method is more realistic, Seijun ends up revealing more about his characters by what they do rather than by the subtle changes in their daily routines.
Seijun casts the viewer in a tumultuous array of color and action, which is almost startling in comparison to the other films we have watched. In the beginning of the film, Seijun focuses on the random violence created by one man leaving the audience to wonder what exactly is going on. We know nothing of this character or why he is doing these things, but, obviously, it is important to the story. We later learn that the man wanted a job in the mob, so these sequences of random violence make sense in retrospect.
Seijun conveys much of the intricacies of the plot through retrospect, a technique that is often used with American film directors such as Tarantino. Throughout the film, the audience wonders where all of these twists and turns are going to lead them. The actual basis of the movie is only revealed in the middle when Jo meets up with a former colleague. Jo reveals why he is now working for the mob which entirely alters the way the audience might think of him. Originally, I thought Jo was a merciless mobster who only wanted money, but then he reveals that he actually joined the mob to find out who killed his friend and to avenge his death and I felt my feelings switch. With this one scene, Seijun transforms Jo from bad guy to good guy.
The film follows the general yakuza film story, but with a twist. Instead of showing loyalty to his boss, giri, Jo shows that his personal loyalty to his dead colleague, ninjo, is more important. It is only until halfway through the film does the audience recognize what Jo values and that completely changes what is thought about him. Seijun uses a broken storyline to keep the audience in suspense, not revealing the entirety of the story right away and making the audience wait for it. By doing this, Seijun is able to make a compelling and interesting yakuza film that keeps the audience interested and makes the viewer think about the intricacies between the characters and the plotline throughout the film.

The 1963 yakuza film Youth of the Beast is a significant departure from the other Japanese films we’ve studied to this point. This can be attributed to several different factors influencing the film’s final composition. Most notably, director Suzuki Seijun’s involvement on the project makes any subsequent departure all the more significant being that at the time of this film’s release Nikkatsu Studios had primarily entrusted him with B-movies that weren’t intended to defy convention or break any new ground so much as set up a higher profile Nikkatsu film.
Obviously, there are going to be inherent technological differences between Suzuki’s work and that of Ozu’s or early Kurosawa due simply to advances made between the their respective eras, but beyond that there are legitimate stylistic differences. In stark contrast to Rashomon, Tokyo Story and even the somewhat contemporary Crazed Fruit, Youth of the Beast is extremely fast-paced. Whereas Ozu was known for his use of long takes and the narrative of Crazed Fruit often crawled along without much of consequence transpiring, Suzuki’s film is fast-paced and the longer takes are typically implemented to emphasize the tension of a particular scene. Of course Ozu wasn’t making action films, but neither Rashomon nor Crazed Fruit’s most action-packed moment can stand up against Youth of the Beast.
Beyond any differences that can be argued as genre-related by nature, Suzuki Seijun does manage to express his personal stylistic influence on this film. A recurring feature that also crops up in other works by Suzuki is the obstructed shot. An extreme low shot of Jo confessing he has no money at the yakuza club is broken up by the framework of the transparent floor; in Suzuki’s Branded to Kill, an entire scene of dialogue is cut up by intrusive rainfall or the pivotal scene in which not only the camera’s view, but the diegetic assassin’s as well, is obstructed by a butterfly at a crucial moment. Youth of the Beast is also the first film viewed by our class to employ such strange and surreal imagery that serve to take us out of the film on occasion, such as when the man teasing the drugged-out woman appears to skip across thin air or when the camera abruptly jumps from the scene of the detective’s murder to a group of women laughing hysterically in a crowded street.

The seemingly random acts of violence in the beginning of the film was a rather different approach from the other films we have seen. When compared to Orochi, they only attacked the main character and he just defended. In Youth of the Beast, Jo, seemingly randomly attacks the yakuza. His character first seems like a no good crook; fighting in the streets, cheating a man out of a pachinko game, staying at a luxury hotel without paying, and he's just made out to be a really bad guy. I have also noticed that in some scenes, the camera fades out or the whole scene fades to black and then a new scene starts. It is becoming more modern besides the fact that this is the first film in color we have watched. The screen fades out adds almost a conclusive feeling to the end of the shot, but in a few cases they weren't so consistent. In one shot the camera faded to black but in another it was like they closed all the lights on the set and then shut the camera, almost like a theater performance. I am assuming by this time, sexuality is almost a familiar thing on the screen as lots of skin is shown in two particular scenes. First is the club/restaurant in the beginning, where Jo is brought away, they dim the lights and a woman with almost nothing on and pink fans start dancing. Then there is the other scene where Nomoto's mistress is caught trying to find out who the 6th mistress is and is beat with belt. Her clothes are ripped and Nomoto haves sex with her in the sandstorm. The scene lingers on her half-exposed torso and Nomoto on top. Jo's character does a 180 from bad guy to good guy with the meeting of cop Hiroko who knew Jo in the past. Then the audience learns that Jo is an ex-cop wanting vengeance for his dead pal, suddenly his motives changed and he is the good guy avenging his friend's death against the yakuza. Jo had said an eye for an eye a tooth for a tooth, but when he got his finger cut by Nomoto he later shot off three of Nomoto's fingers. There are also a few misleading dialogues, especially about the death of characters. At the final battle between Nomoto and Sanka, Jo claims that Minami is dead, but the camera switches to Minami and he is still alive and saves his life later. Which brings us to the next one, after shooting off Nomoto's fingers, Minami then shoots Nomoto claiming you shouldn't leave anyone with a grudge agaisnt you alive. But Jo goes and meets with Hideo implying that Nomoto was still alive with three less fingers while we clearly saw Minami shoot him from 5 feet away.

I enjoyed this movie, gotta say I laughed when the druggie woman flipped over the hand railing on the stairs and landed with thud! Then she ran out as if everything was ok. I also enjoyed the moment Jo made Mrs. Takeshi, the evil lady, say the taboo word in front of Hideo, then try to run out but Jo pushes her back in and closes the door! She deserved that, looking so smug when she thought she had tricked Jo.

I'm going to discuss some Seijun style choices particularly in relation to the clips we saw from some of this other works. The general overarching plot lines of these films seems to be the cut-and-paste garden variety yakusa story. While the story might not have been interesting, I found myself captivated by a large number of the scenes. I'd say that it was Seijun's stylistic choices that kept me watching the film.

For starters, it is impossible to ignore the black and white opening. In the age of color, it stands out, in a film of color, it stands out even more. The black and white opening sets up a tone, which Seijun then turns radically against, showing only single objects in a single color. It jars us from our expectations, and simultaneously draws an extreme emphasis onto the object. It is a style choice of emphasis, one that is technically simple but completely attention drawing.

This sense of buildup to an expectation and then radical shift was an amazing ploy to prevent the audience from slipping into the seen-it-already state of mind, wherein the story becomes boring and predictable. A couple scenes that come to mind include the seen where he's leading the woman away dangling some drugs in front of her. He watches as instead of the expectation that he just ran away with them, she falls over a railing in an almost slapstick fashion. We saw this in Tokyo drifter to an ever more outrageous extreme when the main character feel into a shaft while chasing after the bad guys. Instead of an epic fight scene, he falls flat on his face is out cold. While I think this is a brilliant play against expectations, Seijun still never ventures far from the basic overused yakusa storyline. It's a fresh look, a fun take, and remake of the same dull story.

Laura Ullery
Week 7 Position Paper

Seijun Suzuki’s 1963 film Youth of the Beast is highly stylized compared to the other films we have watched so far. The movie begins (and ends) in black and white with a silent shot of a red flower, but quickly cuts to a scene shot in color: two women laughing on a busy street. Jazz music starts playing and we are taken to a pachinko bar where a fight breaks out almost immediately. As in Crazed Fruit, action plays a lead role from the start of the film. The film moves quickly: main character Jo wastes no time in displaying his charisma, strength, and wits as he forces his way into the Nomoto yakuza gang. This scene takes place in the gang’s hostess club behind a large two-way mirror: the dancers are visible from inside the back room, but sound from the other side is not audible. The film uses several disorienting set-ups to create a surrealist feel. Another memorable location is the headquarters of the Sanko yakuza gang where yakuza films are projected onto the wall behind the characters, their dialogue occurring against the audio of gunfights.

Youth of the Beast contains only one flashback. This is unique compared to the other movies we have seen which either consistently rely on flashbacks or do not use them at all. The film’s single flashback, prompted by a detective accusing Jo of betraying Takeshita, shows a simple scene between the two. The scene ends quickly: the situation and plot for revenge is explained by Jo after the flashback ends rather than by the flashback itself. As Jo puts his plan into action, over-the-top violence flourishes. The confrontation between the Nomoto and Sanko gangs is not simply a gun battle, but also includes several explosions and the destruction of the Nomoto headquarters. Throughout the film, violence is interlaced with humor provided by situations such as Jo fighting while tied to a chandelier as well as by Jo’s gun and women obsessed yakuza partner Minami. Jo’s revenge on Takeshita’s wife murderer is also darkly humorous: he tricks her into insulting the mother of razor-wielding Hideo and shuts her in the room with him after an ominous shot of the open blade reveals her mistake. The true story of Takeshita’s murder is revealed not by Jo, but by a telephone conversation between Hideo and a detective. The over-the-top style and narrative techniques used in Youth of the Beast make it a unique and interesting film.

The film The Youth of the Beast is set mostly in the criminal underground, making it much different than the other films we have seen in this class so far. However, that is not true about the films of the time. The film follows the trend of the time in Yakuza films to tell the story of the “good Yakuza”. I find it interesting that these are the films that were to fill at least part of the cultural psyche of Japan in the 1960s. This is due to the conflict between “giri (social obligation) and ninjo (personal inclination)” according to McDonald. This conflict can be found in the conflicts that arise during the characters’ lives in the story of the film, but it also represents the real life struggle of real people with these two seemingly opposing forces. It seems to be very nicely represented in the Yakuza because they were seen as the group of people that embodied ninjo. At least this would be the case for Japanese popular culture and the connotation that Yakuza generally has, even in the West now. The Yakuza are certainly suppressed by the overarching social order. The problem is that anyone could be counted among the “Yakuza” given the right circumstances. On the other hand it really is just one aspect of life in the modern world. Both of these concepts, the ideas of social obligation and the idea of “personal inclination” or one some level individuality, definitely have their own places in society today. The idea that they are polar opposites was present in the 1960s in Japan and the Yakuza film seems to depict it perfectly. This is not unique to Japan, as there have been gangster and mob films in the United States for quite some time. Thus, the Yakuza film, while depicting on a smaller scale the struggle between these two ideas, represents the problem of individuality in an industrial setting. The Youth of the Beast is certainly a part of this larger discourse.

Immediately after the beginning credits, Youth of the Beast opens with the dead body of a man and then it pans out to include the body of a young woman. From the note the detective reads, the viewers discover this is the site of a double “suicide.” As the story moves away from the suicide, the main character, Mizuno Jo, is introduced while involved in a fist fight with a yakuza member over a pachinko ball. He then proceeds to walk into a nightclub and spend a fortune, only to be unable to pay. The gangsters take him down to the basement to meet their boss and after some “gun-play” involving even knives, the boss offers him a job within the gang.

Just the first few minutes of the film is already quite an immense departure from all the films we have previously viewed for the class. From the fist fight where Mizuno was introduced to the large one-way mirror down in the “lair,” the film carries with it a feel of flamboyant, almost defiant, fast-paced action movie. It is this element of being overly dramatic to the point of comedy that shines a new light on the film and draws it away from other stereotypical yakuza films.

Dudring the first reading, before actually watching the movie, I was already expecting to see a movie similar to that of Michael Mann's Public Enemies. From the reading, I expected to watch a movie filled with fast-paced action (which it technically was) filled with a serious mood and a tint of tragedy and sadness that lingers since the beginning, though the audience might not have been able to sense it in the beginning. Yet, my expectations were shattered.

Let us take Mizuno as an example. His character's background and his mission is already different from what I expected. I personally did not think much of his character to begin with, truth be told. I thought he would be an ordinary person who was an outcast and then joins a gang to have a sense of “family” and when he finally did join a gang, I expected him to be completely loyal. That is not the case however. He joins the gang purely for the sake of avenging a senior officer who took care of his wife while he was in jail and during his stint in said gang, he pits their rival gang against them and in the end, manages to get the two to have an all out battle.

Analyzing Mizuno's character, I find that he does indeed fill the shoes of a charismatic, silent, dark hero that is so common within the yakuza and crime movies and yet, at the same, his fights with other characters in the film contain a certain comedic flair to them. An example of this in the film comes towards the end when is he is strapped to the ceiling. Though the fight is a life or death one for him and the audience understands his desperate need to get the gun and win, the fact that he has to swing from the ceiling multiple times to actually get his hands on the gun almost made me laugh. It is this flair and exaggerative style, I believe, that differentiates Suzuki Seijiun's Youth of the Beast from other yakuza films.

Yakuza films like Suzuki’s Youth of the Beast seem in many ways to act as the Japanese answer to the Spaghetti Western, a formulaic yet entertaining popular genre in which directors can utilize their technical creativity and the violence inherent in the grammar of the genre to keep the audience interested in what would otherwise be a hopelessly standard film (Maybe this is why Tarantino evokes these two particular genres so much. Pulp Fiction would have been pretty ordinary if it had been shown in chronological order, for example).
The most obvious trope shared by both genres is that of the lone, mysterious stranger, morally ambiguous but still the closest thing to a protagonist appearing in this type of film. In both cases, this character serves as an exaggerated symbol of masculinity; for the most part this is shown through the absence of a clear-cut love interest, as well as the protagonist’s almost superhuman physical abilities. The Man With No Name can shoot and cut through a hangman’s noose from four hundred yards away; Jo in Youth of the Beast effortlessly transcends the boundaries of time and space as he shoots a Nomoto man squarely in the chest while hanging upside down and simultaneously grappling with the boss.
The plot of Youth of the Beast is also similar to that seen often in the Spaghetti Western: the stranger wanders onto the scene and commits seemingly random, indiscriminate acts of violence, before the audience learns that he’s actually the good guy. Usually, he gets involved in an ongoing conflict between two rival groups, manipulating both into eventually destroying each other for his own initially unclear motives. This is a pretty standard story for both genres (and other genres as well – Kurosawa used this general storyline for Yojimbo in 1961), so it is important for a genuinely talented director like Suzuki to distinguish his film from typical B-movies stylistically. It is precisely the constant action in the form of the film, as opposed to the action in the narrative that makes Youth of the Beast so fun to watch despite the clichéd storyline.

The editing very distinct in "Youth of the Beast" as well in the other Suzuki films we looked at in class. There's a very strange, awkward juxtaposition between shots and sometimes whole scenes. For instance, in the beginning, very quiet and calm city shots were followed by loud, (seemingly) random acts of violence. Later we find out that the violence was a part of Jo's plan but at the time, any violence seems rather unmotivated. In general, I found the film to be a little confusing at times. Because of how fast the cuts are and little dialogue, there were a hand full of characters that Jo came across that I wouldn't understood who they were. The film often felt like a series of random events that pieced together to make a choppy plot. This added to the mystery of the case and was always visually very interesting. The story was interesting but sometimes the fast paced editing took away some suspense for me. I also didn't get a good sense of space. I can follow the characters whose names we know but there are hardly any shots of traveling. We jump from place to place. One shot shows Jo scheming, the next shows him in the shower.

I noticed much more nudity than we've ever seen in the previous films. Naked ladies often popped up in the mob's clubs. And they weren't quick shots of these women either; they lasted long enough were we clearly were meant to see body parts. Naturally women were being objectified, not a new theme. None of the women were shown in a good light. They were either drugged up whores or evil, conniving mistresses. The mistresses had some power though it was limited by the men to the point where the women become tools. One of the mistresses talked about controlling people. She was powerful enough to order people around and they'd actually cut deals with her. It seems that the only person she's afraid of is the mob boss. But she's confident enough where she doesn't flinch at all the violence or being surrounded by killers. Yet at the same time, she was always at the mercy of the boss; he would brutally whip her before he has sex with her.

The decisions of color made in this movie are visually interesting and very pleasing to watch. The initial black and white scene that gets broken by the color red is gorgeously shot with an amazing eye for balance and asymmetry. It sets a tone for the movie that I feel carries strongly though the rest of the film. The movies plot at first glance seems bland, with the Jo avenging the one friend he had so on and so forth. But the twists at the middle, where you find out he was a cop, and at the end, where you find out the sixth mistress is Miss Takeshida, keep you on your toes even if they don't elicit in great thought or insight. Youth of the Beast relies on color a lot to differentiate things in the movie, like the red always worn by second hand man of the Yakuza boss who Jo ordered to kill. It was also funny that the fake dynamite that they used to scare the drug dealers when they were stealing their money only produced red smoke. Again in the cafe when Jo is trying to find out who handle the call girls all the phones are half red and half white and take up a prominent space on the screen. It was these little things that made the movie interesting. Another such minor thrown in detail was Jo's friend who loves guns saying he has a problem with women and alcohol, only to later reveal that he has never been with a women or drank alcohol. Which is of course furthered by the joke that his first time falling in love and drinking gets him shot in the shoulder is priceless. I found that throughout the movie I found myself more interested in the characters then in the story, especially the down and out boss with a love for explosives. The constant reference to Jo's boss being a sadist, while trying to add drama and confusion about he ending, gets played out a little to much and remains the one character development I could have lived without.

The sixties style of modernism is definately apparent in this film, in the sense that it was like Batman meets the Yakuza and they decide to have a put cotton in your cheeks party. An interesting plot, much like Yojimbo or A Fist Full of Dollars; the hero plays both sides of a gang war eventually finding out who killed his partner. Interestingly, Jo Shishido is currently staring in "Tenchijin" the new Taiga Drama as Kagetsuna Naoe (fyi). Those cheek-bones seem to be working out for him.

The the camera angles in this film were pretty wild. In a way many parts of the film seemed to mimic comic books, especially the scene where the Yakuza boss is making a getaway and crashes the car into the house that Jo is inside of and tied to the ceiling. So many parts of the film are so over the top, its almost impossible to compare this to the mellow dramas of a few years prior. Something else that caught my eye was the fakeness of the pistols they were carrying - they looked like they were made of soap or something. I think it actually aided the movie in a strange way, that the cirtain areas of b-movieness contributed to the craziness of the film.

While the film marks another turning point in Japanese cinema, I think it merely gives us perspective on the movies we have already seen this semester, besides being the first in color. But I can also see how Tarantino would definately be an admirer of Suzuki's.

Youth of the Beast begins in black and white, which serves perfectly to introduce us to the background of the colour story to follow. At first the film reminded me of a rat pack movie, colourful and lively making me think that Frank Sinatra would start singing any minute. However as the plot thickened and Mizuno's motivations and sublimations became apparent it resembled more closely a 1930s gangster film, which really excepting the time period it truly is. At the start Jo Mizuno seemed like a typical mob man, conniving his way into Nomoto's organization, but as the film rolls on his allegiances seem fuzzier, and it isn't always clear just whose side he might be on. By keeping the viewer in the dark almost as long as the other yakuza in the plot, Youth of the Beast masterfully engages the audience and truly keeps one at the edge of their seat, just waiting to see what might happen next. At least, I couldn't look away from it at all, so it certainly seemed to serve its purpose.
Given that the film is truly a B-movie plot in an artistically expressed outfit, it is easy to distinguish between the cheesy bits of snappy dialogue and the pop art background rendered dramatically in a visually engaging manner. Since the character development wasn't emphasized, we were able to glimpse snapshots of the action framed in a way one would not normally expect to see in a corny mob film. This doesn't mean the plot should be dismissed as irrelevant, it is actually quite engaging for a film of its type, notably the speed with which it develops.
As a piece of art, it is not exactly highbrow, but more of a mainstream vision that everyone can enjoy. Strictly as entertainment, the value becomes priceless.

Thomas James Nosbish
Position Paper
Japanese Film
October 22nd 2009

Youth of the beast was a very clever and thankfully colorful yakuza film. This film however reminded my very much of the western detective of Dick Tracy. The main character Jo was very straight forward with his motivates Youth Of The Beast was the film that put Suzuki on the long downward spiral toward creative freedom and escapism from the banality of a never-ending stream of dull yakuza B-movies. Youth Of The Beast, but the ideas are newly formed, incomplete, still in their infancy. Seijun Suzuki was not yet Seijun Suzuki, at least not the man he would become. A rough and tough gangster named Jo appears out of nowhere on the streets of Tokyo, and immediately makes a name for himself by brazenly walking into the headquarters of Nomoto Enterprises, a notorious yakuza organization. There, he beats the crud out of the guards, points a gun at the boss, and asks for a job. Impressed by his tenacity, his muscle, and his absolute fearlessness that borders on the mentally insane, the boss puts him on the payroll. The gang is at war with a rival faction, and they could use all the manpower they can get. Jo's services do not come cheap, but he soon proves himself an expensive yet invaluable acquisition.
The camera was mostly stable between shoots in the film, yet it was at mid range for the actors. There was however an impressive use of this during Jo’s second job with Niami where the camera is pulled back and Niami is showed to have the jump on the rival gangs head hit man.Youth Of The Beast was simply at the height of all that was hip, not only pushing the creative and visual envelopes, but also pushing a more violent one. Surprisingly gritty and edgy considering the time period, the film depicts knives being slid under fingernails, women being whipped mercilessly and sexually assaulted, fingers being shot off with guns, and cars stuffed with dynamite being driven into houses. As a protagonist, Jo is tough as nails. Our first introduction shows him strutting down the streets in a black trench coat and suit with dashing white hat, and before a group of street punks can even begin to hassle him, he beats them into the ground. Then, delicately, he wipes the blood off his fine Italian loafers by rubbing them disdainfully onto the shirt of the man whose face he kicked in, before moving on down the street. Jo seems ruthless at first, but slowly the film unveils his true motivations. He has a bone to pick with one of the gangs, but he soon becomes so deep in the subterfuge and espionage that his own intentions are as vague and unpredictable as the film itself.

Week 7 position paper
By Eric Michelson

When I watched this film after reading the article I saw the connection between the obligation and the personal inclination. In the movie we that the obligation of mizune was to join the yakuza to avenge his friend who had been killed by them. His personal inclination didn’t enter the picture too much. Aside from the fact that he keeps trying to get whores which may have been his own personal taste. We also see an inclination of his personal taste from before the movie when he had been kicked out of the police and jailed for embezzlement. The character of mizune was the hardest to pin, for the first part of the movie we have no idea what he is trying to accomplish, it almost seems like he is just out to cause trouble, and the working on both sides was risky business.

The film almost had a noir element to it. There was a cunning lady behind all of it, and the men were just kind of dopes in her control. The twist at the end when the lady ended up being the one responsible was a very noir like feature. I don’t really think there were any connections between the noir genre and this film but they are similar enough to compare.

Seeing the interactions of the yakuza with each other we see that their emotions can shift pretty wildly. This is one of the elements that are typical in a yakuza film that we seen mentioned in the reading. On that track we usually don’t see the emotions of the main character shift too much; this is in line with the idea that the good guy can keep his head while the bad guys have really hot tempers.

There was a little mystery to this film that leads up to the discover that the wife of mizune’s friend is the sixth mistress. Mystery in these yakuza films is really good to see. I’m not sure if that is typical of the common yakuza film but I think it worked rather well here.

As a viewer that has never seen the plethora of yakuza films that Seijun is trying his hardest to not regurgitate, I almost wished we had watched one of the more mainstream yakuza films. On the flipside, however, it sounds like Orochi almost fills in the requirements. His feelings (love for the women and ideal view of justice) battle against his duty (his time with the boss and the overreaching views of society) in the continual back and forth of giri-ninjo culminating in the one against many end brawl. But I found it hard to appreciate Orochi’s protagonist (what with his strange clinging nature and erratic emotions) and reading McDonald’s overview of yakuza films had me hoping for a main character I could appreciate. Sadly, Youth of the Beast drops out the opposite in Seiji’s quirky need to upset the norm. At this moment, it is rather annoying being an outside viewer because Jo was not a breath of fresh air. His impulsive actions and manipulative nature set him instantly as a repugnant creature with no sense of honor. Reaching the middle of the film and seeing his actions branch from his hunt of his detective buddy’s murderer did little to endear, because, quite simply, I’d grown to like the yakuza members more than him. And anyone could see that he was going to get them all killed.

It is a simple equation. Send any outside force into a group and invariably things shift and unravel. Such shifting and unraveling in an action flick is going to be seen in death and betrayal and more death. The second Jo gives Minami the rifle, you know the yakuza member is going to die. Already Minami’s dedication to the boss is sent wavering by Jo’s actions. At first, the gift of a gun is not so big a thing. After all, Minami is the brawn, saying himself that he just likes guns. Then Jo hints at women and drink, which Minami claims are “bad for me.” He’s just a simple guy, happily in line with his giri – his loyalty to the boss who lets him have guns. But already this corrodes under the influence. Minami refuses to shoot Jo when the gang brings him into questioning about his police background, throwing down the rifle and disobeying his boss. His bond with Jo is starting to outweigh his allegiance and there is nowhere to go but down at this point. At the stakeout, he falls for the woman and proceeds to have a drink fest, compromising his original views. He makes his final step, shooting Nomoto, his boss, to save Jo, abandoning his giri. So, in Minami at least, Seijun stays true to the trope of the secondary yakuza who changes in light of the justice oriented man.

Revenge films just never make sense. Certainly we all want justice, but then the problem of whose view of justice wins out. More people just die. Other than being pawns in Jo’s process, I kept waiting to see the second gang’s hand in the detective’s murder, but it never came. Sure, these gangsters aren’t the best of society, but he betrays their trust and that just seems wrong. After the shootout in the apartment, Jo just makes the “well damn” expression and moves on. Jo had to lie his way out of the fix he was in and got Takechi scapegoated, resulting in his death and that of his wife. Just as much as Jo wants revenge, he just blithely upsets a balance that kept things from madness, resulting in more and more death. So, I feel for the pawns.

James Updyke
22 October 2009
ALL 3456

Suzuki Seijun’s 1963 “Youth of the Beast,” considered a breakthrough for the yakuza genre, shows the director/actor’s distinct authorial style. As a b-movie director, Suzuki bent the socially accepted rules of filmmaking to create his own world of retrospective film. Although “Youth of the Beast” is only the beginning of Suzuki’s long-running list of changing films, it sets the stage for a very new perspective. The film review in this week’s reading describes the film as a result of Suzuki’s boredom with repetitive b-movies and storylines (305). The Nikkatsu Studio would most likely agree that there is a certain level of flair and modernism, since they fired the director for being too much of a radical. Nevertheless, Suzuki’s approach was innovative in not only aesthetic beauty, but for the modernist storylines, themes, and editorial style.

Action and beauty are an odd combination for any film; however “Youth of the Beast” displays this odd mashing without losing the yakuza sense of action. Like other Suzuki films, the opening is a black and white introduction to the strange, and obviously fictional, world of the director’s stories. There is beauty in the opening shown through the high contrasts and focused colors brought out through the grayscale. With so many strange colors in odd places (such as the random blue wall in the “Takeshita Knitting School”), beauty and aesthetics is never lost. The action is undeniably gruesome at times, such as when Mizuno is having his finger cut; a radical change from many films we have seen during the changing postwar period.

Suzuki’s modernist style, as the review stated, comes from a sense of boredom with b-movies, but also with the director’s distinct need for breaking rules and his “deliriously anarchic and inventive brain.” (304). The storyline has an up-front typical plot which is molded into a twisted narrative only seen in a Suzuki film. “Youth of the Beast” has the distinctive go-go music and artistic feel further emphasized by the modern and often bizarre setting and stage-work. For example, the sound-proof room at the club that has the large one-way mirror is used for silent shots and then the room is filled with go-go music from the radio. All of these elements bring together Suzuki’s style.

In Youth of the Beast, Suzuki Seijun is able to create an at times jarring work that is a distinctly unique work of genre. When a director works extensively within a certain genre it is easy to get caught up in the established conventions and tropes of that style. As the introduction to The Yakuza Film states, “McDonald examines the areas of character types, iconography, structure and theme for the generic elements they embody.” While this works perfectly well for examining the definition, growth, and history of a genre it fails to recognize the individual and the need to analyze the work of a particular director in the genre. Suzuki Seijuns Youth of the Beast implores all of the essential elements of the yakuza film but technically he is able to use cinematic tools, and artistic flair to create a truly unique work of the genre. Utilizing obscure shots, varying color schemes, and visually appealing and unique sets Suzuki Seijuns is able to take the conventions of specific genre and situate them in a framework that appeals to the viewer as unique. I was also surprised to see how many of these genre conventions were in line with American crime genres. With Jo the hard-boiled anti-hero to the gang bosses mistress occupying the femme fatale convention.
While watching this film and then doing the readings I was shocked to read that Suzuki had only seen Jean-Luc Goddard’s Breathless and didn’t think much of it other than it was interesting. These two filmmakers seemed to me like kindred spirits. From their love of the pulp to the style, to even the jazzy and modern soundtrack Suzuki and Goddard exhibit a multitude of similarities. In fact the first thing I thought when watching this film was that he reminds me of a Japanese Goddard.

The story line to Youth of the Beast seems formulaic, almost trite. It seems as though any director could have done this film. This fits in with the idea of Suzuki as the B movie director. What makes the film stand out is his distinct style that shows how Suzuki was not just a “B” movie director, but an auteur as well.
The closest things I have ever seen to Suzuki’s style are films from the French new wave. Youth of the Beast in some ways reminded my of the films of Jean-Luc Goddard. The highly stylized mise-en-scene and the random nature of the narrative are what make me think of this.
An example of this highly stylized mise-en-scene is the scene where the woman is looking into the restaurant through a large window. The camera takes a point of view shot and we see about 10 people in the shot. There are four men and six women. The scene is visually striking because it is crammed full of things to look at. All of the women are wear brightly colored dresses, there are flowers at the bottom of the shot and there are at least four different lighting sources. On top of the visual aspect, the most striking thing is the sound. While she is looking into the window the film is unrealistically silent, because our view cannot here the happenings of the group. This silence makes the viewer focus on the visual aspects.
This is a modernist directors technique. It is followed by an equally as impressive shot. As the men are leaving the group the walk in to a lounge and the viewer see them from below a glass floor. The men move around, but the camera position stays behind them. Both of these scenes are examples of how Suzuki took a trite script and used his modernist style to come through as auteur.
One other thing that made me realize it was a modernist film, and similar to the French new wave is the use of music. From the opening credit scene there was an intense use of very up-tempo jazz. This is something that occurs often in modernist films. This use of music really was jarring and captivated my attention, I believe it fit well will the visual aspects and all of the rapid cuts. The sound also is a key part in his style. From the clips we watched in class (Tokyo Drifter) it seems that he frequented loud jazz.
Between the individual visual style and the unexpected use of sounds, it is clear that even though Suzuki could not pick his scripts, and had low budgets, he was style an auteur because of the creativity he displayed in his films.
(Ps. This really reminded my of Jean-Luc Goddard’s Pierrot le fou)

In “Youth of the Beast” we see that Seijun Suzuki has revisited the Japanese Kabuki traditions in a way that’s slightly different from the other directors we’ve seen recently. With directors like Kurosawa, emphasis was put on the actor’s expression, using little emotion there but more with the body language. Suzuki says in the interview that he kept in mind the Kabuki art of letting the audience know when and how characters are entering and exiting, and being able to see all of the actions at once. So we see in this movie many wide shots that cover all of the characters in a scene. The character who is speaking may be at the other end of the room from where the shot is coming from and facing the other direction, but within a few moments the speaker inevitably changes, and so we are able to see how everyone in the scene is reacting to the speaker.

At the end of the movie we see that the main character “Jo” Mizuno becomes the outcast outlined by some of the earlier yakuza films seen in the article. He has cut off his ties with the Namoto gang obviously by helping the rival yakuza boss blow them up, plus he helps to kill or disfigure most of the remaining members. But he also shows that he cannot truly go back to life as a person in regular society, shown by the fact that he does not decide to work with the detective. Instead, he plays the confessions over the phone from a tape recorder and walks away. The only people he could have really had any connection with, Minami and Mrs. Takeshita, eventually betray him. So the movie ends with the audience’s satisfaction that the killer has been caught, but Mizuno seems to be back at square one with nothing and no one to live for.

The role of women in this movie is thankfully a little more complex than others we’ve seen, but still, none of the women in the film come away in a good light. Mrs. Takeshita has come into a little bit of power, but instead of using it for good she is a cold-blooded murderer. The woman who commissions the assassination of the sixth mistress is no better; she may not have killed anyone that we know of, but she has asked Mizuno to kill simply because she’s jealous. Other images we see of women in the film include dancers, drug addicts crawling on the ground in withdrawal and call girls getting beaten up by the yakuza leaders. In other words, still not very progressive.

Youth of the Beast is a jarring film. It's use of unconventional and wild use of color schemes and camera work brought much attention to Suzuki Seijun in 1963 and the world of film has been greatly influenced ever since. The use of bright, bold color schemes in many scenes give the environment much to look at, in fact, I kept looking at much of the scenery as the characters were talking and action was taking place. I suppose it's for the best considering the dialogue is pretty average. I've seen plenty of cop-with-a-vendetta films over the years and the dialogue ends up being more or less similar.
The two best scenes that would probably been mediocre under a different director were the beginning scene in the yakuza club with the one-way glass and Jo's interrogation.
In the club scene, much of the viewer's attention is drawn to the club patrons in the club because everything there is fun and upbeat and sexy while the bad stuff is happening right in front of you. It's also interesting to see if anyone of the patrons will hear anything and get interested in what's going on behind the glass. Tarantino's Kill Bill Vol. 1 has a similar tenseness in the final scene at House of Blue Leaves. A club scene with Yakuza and bad things all around, except that scene erupts into a massive sword fight.
Jo's interrogation is also an awesome scene because of the camera placement in front of Jo's smushed face. The wall is glass for the viewer to see everything from Jo's end, and when his finger is stabbed there is no luxury of a shoulder or a hand obscuring action; you have to watch it all.
Also, the character of Jo is more like a spaghetti western cowboy who is only out for himself and making a lot of money as well as playing detective and finding his friend's killer. No giri, just ninjo since he is still a cop at heart.
Overall, the film and the story is really average. It is only due Suzuki's imagination for film making that allows it to be much more engrossing and engaging than the run of the mill Yakuza film. It's sweet to know a source one of my favorite film maker's inspiration.

I will be commenting on the film Youth of the Beast and how it fit perfectly into the genre of the yakuza film. Youth of the Beast seemed to follow the standard yakuza film plotline. It is about a former detective who infiltrates the yakuza underworld to find out who had murdered a fellow detective. In the beginning of the film we do not know exactly what Jo’s motivations are for getting two rival yakuza gangs to go to war with each other. Originally I thought of Jo as being the standard “bad” or “evil” yakuza who does not care about anyone but getting paid. Like in most yakuza films there is a code called the jingi and deciding whether or not to follow this code is normally where the plot conflict occurs. This conflict happens between the giri, which are your social obligations such as your duty to your family or your gang and the ninjo, which are your personal inclinations or the need for survival and self-preservation. We later find out in the film that Jo’s motivation for working with these two rival gangs does have a much deeper meaning than just getting paid. Jo is sticking by the jingi code and repaying the dead detective back the only way he knows how, by figuring out who had murdered him. Jo is sticking to his duty to the dead detective for taking care of his sick wife while Jo was in prison for being set-up by the mob.
This “good” yakuza vs. “bad” yakuza is a theme that is constantly being played out in the yakuza film genre. During this time period of the 60s there was a shift toward showing these films in a much more modern style instead of the usual feudal setting that they were normally in. This new modern aesthetic style can be seen in many of Seijun’s films. The locations would now focus on life in the city, where there was opportunity for any yakuza wanting to make some money. The “good” yakuza characters, such as Jo, would be shown as still following the jingi code and having some tiny thread of honor with their dealings. However the “bad” yakuza such as Nomoto were corrupt, had little honor left in them, and would only care about making more money.

I was impressed with this week’s film “Youth of the Beast” by Seijin Suzuki. I could definitely see an improvement in camera usage and techniques along with a specific style unique to his directing. One of the first things I noticed was the use of jazz in many of the beginning scenes. Jazz is American type music and definitely has a certain culture with it that I think Seijin was trying to add to the film. Jazz is rebellious, seductive, and lively, which I think plays an important part of the yakuza motif. On the outside they look like businessmen but their business is usually deadly or along those sort of ‘jazz’ lines. Jo, the main character, is similar to an a ‘private eye’ and I would have to watch the film again to gain the whole story in full. Jo is out to solve the murder of a friend who helped him out but at the end, we find out the wife was responsible for it. This twist completely surprised me since it was the opposite of the character she played. We think she’s the mourning wife who doesn’t know the real story and this surprise ending was thoroughly enjoyable. One element to the end I found very fitting was the brother of the mob leader who would slice up those who insulted his mother. Thinking he is dead in the room after the final big showdown, Jo gets the wife to say her dead sentence—what kind of mother he had. To which she comments on her prostitution and the camera switches to his eyes, awake, alive, and aware exactly of what she has said. Jo shuts the door and as I waited for screams, there is no noise from the room but this absence almost makes it creepier and intense. We ourselves imagine what is happening to ‘the 6th mistress,’ which gave me goosebumps thinking she got what she had coming. I also couldn’t help but notice where this style of film probably influenced some American directors, specifically someone like Taratino. There are many edgy or quick shots and transitions as well as twists for those able to follow every turn.

In Seijun Suzuki’s Youth of the Beast, we are immersed in this array of bold colors and fast pace storyline. Shishido Jo, the main character of the film isn’t introduced to us as a former cop but rather a tough guy who seems to have fun causing trouble and spending large amounts of money. We later learn that he’s looking to join the club’s managing yakuza in what looks like a reason to get paid for fighting with others, on a more professional level.

Shishido Jo’s character image takes a turn when the audience learns of his true motives and all that we witnessed beforehand starts to make a lot more sense. As a result, we find ourselves empathizing with Jo and his “fight” against the corrupt world of the yakuza. There are constant twists and turns and the audience has to make an effort to try and take the information that is relevant to Jo’s situation in order to make sense of the series of events. The yakuza characters were stereotypically defined by their snazzy suits and guns which added to the overall presence of violence in the film.

The storyline between the Jo and the Nomoto and Sanko gangs become complicated when he takes up the additional and greater pay offered by Sanko’s boss. Now he’s playing both sides while executing his ulterior motive. This obviously doesn’t work for long as Jo’s past comes back to haunt him when one of Nomoto’s men (I think) recalls that he saw him three years before when he was still a cop. This almost ruins Jo’s plan to avenge his former partner’s murder but Jo quickly saves himself by referring to the article in the paper years before that confirms his jail time under the charges of embezzlement. We learned earlier on that his wife was suffering from TB when his former partner financially provided for her up until her death while he was serving his sentence.

Overall, this film was completely different in comparison to previous films we’ve seen in class, just in the overall delivery of the storyline, film techniques, and the use of color (which hasn’t been seen in the other films).

Even though I’m not normally a fan of gangster films, I wound up liking this film a lot. The main focus of this film is the complex storytelling. Simple characterization is also present through small personality traits, habits and actions, though at first it seems contradictory. Nomoto appears as a softie because he is sometimes shown holding a cat, but is later revealed to be a sadist through his torture of the drug addicted woman. The Sanko leader has cowardly traits, revealed by his fear of being harmed by Jo, but at the end he drives his car into the house, finally driven insane by Nomoto’s betrayal years ago. The biggest surprise in characterization is when it’s revealed that Takeshita’s wife was the sixth mistress. She at first appears as a dutiful widow and a proper Japanese woman, taking in wounded men, though she considers calling the police (after all, she was the wife of a cop). At the very end it’s shown that she’s is a completely different person cheating on Takeshita with a Yakuza boss, spying on the police, running a prostitution ring and playing a part in her husband’s murder. She cries and begs for mercy from Jo at the end and he does indeed leave, but not before prompting her to call Hideo’s mother a whore, driving Hideo into a violent rage.

I thought the fight scenes were pretty awesome, particularly at the end when Jo is fighting while hanging upside down from his feet. I also thought the story was incredibly complex, more so than any of the other films we’ve watched so far. There are multiple double crossings, ulterior motives, even a surprise ending. It’s difficult to tell, especially when you’re stuck reading subtitles, which side Jo is loyal to, until the end when he calls the police and tells them what has happened. It is also at the end that we see the colored flowers the appeared in the first scene, Takeshita’s murder scene. In both parts, Jo has no hidden allegiances- he is a cop. This is shown by the black and white portrayal of these scenes.

I believe the author of the final article (unsure exactly who the author was; perhaps its an article from the Encyclopedia of Japan?) best summed up the experience from Youth of the Beast. It’ s a “film that rises above its absurdities and clichés into a realm of pure, delirious cool.” And it is undeniably cool. REALLY cool. In fact, this was undoubtedly the movie that was most stunning to me of everything we’ve seen thus far. The narrative themes; the lone wolf fighting for an ideal and “giri” is one of my favorite themes. But, with my history in film study being dictated by the classic theory of Bordwell and Thompson, with mise-en-scene and cinematography concerns having been solidily drilled in to my head, this is undoubtedly the area where I spend the most of my attention (and offer the most criticism). And, with my favorite directors being Hitchcock and Rodriguez, I have quite a plethora of complex cinematography to be comparing these films to. However, just like in the solid narrative, Youth of the Beast and Suzuki do not disappoint in how the story is told and the cinematography. The film is absolutely gorgeous, expression and composition being executed perfectly to tell a story of crime, honor, and punishment. The first sequence in which we see the environment where Takashita and his girlfriend committed suicide is solemn and dark, like a chiaroscuro painting on film, with a unique and masterful use of color to accentuate the rose with a stunning splash of red. Suzuki, according to the latest article (and parts of the McDonald article) note that Suzuki made great use of color in his films, apparently he was just getting his start here in Youth of the Beast. Its interesting to note the narrative themes, which are truly revolutionary when boiled down best by the final article which notes their source being “Suzuki’s own boredom with the repetitive task of cranking out B programmer for Nikkatsu (McDonald drives at a similar point, but unfortunately is so bogged down in the concept of giri vs ninjo that the full revolutionary nature of the yakuza film is lost in her article). In this sense, his conviction toward changing narrative and breaking out of jidaigeki, generic narrative forms was just as revolutionary as the anti-humanists, but he really had STYLE and was able to use the camera for the purpose of really furthering the narrative (yes, he did, in breaking away toward new narrative structures and genre become part of just another clichéd genre, but at least he was making a new way of filming and narrating a story become standard). He utilizes unique color like in the suicide scene and unique mise-en-scene compositions, like when Mizuno is pressed against the glass or when he sticks us in a climactic battle of long takes as Mizuno shoots off the fingers of his opponent. Strange and interesting to note how he saved using cuts here; in a sense the long takes, counter intuitively, become even more intense than rapid cuts would be.

Youth of the beast was a seemed to be a yakuza version of Yojimbo. Yojimbo, created by Akira Kurosawa, was a film about a guy that comes to a town that is controlled by two big gangs, and hires him to both of them to make even more money. He becomes a double agent and it leads to the destruction of the two gangs. This movie seems to be the same story with a film noir twist. I truly felt as if the theme and story was stolen from other earlier movies. My roommate and I watch the movies together and I try to get his input on the movie as well, and he said it was a rip off of Yojimbo as well. I think that for the times that this movie was based in, having the mob boss in the end be a woman was probably unheard of or at least really rare. This being said it probably came as a real shocker, and sparked a lot of controversy in discussion about the movie during the time in which it was made. I was a little weirded out by the main character, after watching the bits we watched in class, I was waiting for something dealing with rice to come into play with the movie. I really want to understand why Minami was so smitten by the man’s girlfriend/significant other. It was as if he just walked in and fell for her, didn’t even talk to her, total lame sauce. Because this film, much like all the rest but one, was to small to see the torture that was used on Mizuno. The torture I am talking about, is what they did to his finger that pissed him off and made him demand his bosses finger. That was the problem I had with the movie, I couldn’t see what was going on and it made it hard to interpret the body language. Over all saw the movie, was irritated that the idea wasn’t really original, the ending was good, but I couldn’t get into the movie, because it seemed to lose its intensity till the end.

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Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It's very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

I'll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

Between me and my husband we've owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I've settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

Between me and my husband we've owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I've settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

Sorry for the huge review, but I'm really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it's the right choice for you.

I'll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

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This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.

Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It's very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

Hands down, Apple's app store wins by a mile. It's a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I'm not sure I'd want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

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The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.

If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.

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What I want to know is why I should care? I mean, not to say that what youve got to say isnt important, but I mean, its so generic. Everyones talking about this man. Give us something more, something that we can get behind so we can feel as passionately about it as you do.

You make more employed for the government in many cases rather than going into business for yourself. Either way, there is not much job insurance.

I remember reading about something like this on CNN.

Sorry for the long rant / review lol, but i had to do it, and i hope it will help people in the future when they are buying from websites and looking at products.

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I've had troublint professors on both sides of the fight. Bad liberal do just as crappy a job as piss-poor Liberals.

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Between me and my husband we've owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I've settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It's very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

It may sound weird but my browser does notseem to be capable to d isplay your document rightly?- It looks like a complete chunk of if is not correctly d isplayed and also the layout of your web page does notappear to become right. Can you verify that th is publish has been put together for Opera?

Good luck getting people behind this one. Though you make some VERY fascinating points, youre going to have to do more than bring up a few things that may be different than what weve already heard. What are trying to say here? What do you want us to think? It seems like you cant really get behind a unique thought. Anyway, thats just my opinion.

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Hands down, Apple's app store wins by a mile. It's a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I'm not sure I'd want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

Sorry for the huge review, but I'm really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it's the right choice for you.

This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.

The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It's very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

Between me and my husband we've owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I've settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

As expressly, there have been bourgeois from over a YEAR back rallying to do this and making accusations at JP Morgan. Despite the whistleblower and his consort were crashed into in a hit and run right away afterwards the expose.

I'll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.

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I'll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

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This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It's very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

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Sorry for the huge review, but I'm really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it's the right choice for you.

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