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The music is again by Joe Hisaishi, who composed Takeshi's films Sonatine and Brother plus some others. His films are as important in this level as they are in cinematic element level as some of his usual trademarks are absolutely unique and stunning, and Hana-bi is definitely not an exception. the work of Takashi Miike and Ishii) miss the whole point as his films absolutely never glorify violence or present it as a noteworthy tool his films analyze violence and show many aspects of it, without hiding or embellishing anything. I will stress again that those who think Takeshi's cinema is gratuitously violent (or Japanese cinema in general, i.e. Weak souls resort to violence very often, and the result is always just more violence, death, depravity and pain, both physical and emotional. Hana-bi has some very strong scenes of violence, and it all erupts again as rapidly as always in Takeshi's films. The shoot out flashback is also one memorable segment in this film, and it is in its slow motion one of the most beautiful, yet shocking depictions of violence ever possible. Horibe finds some kind of way to express his sadness through art and painting, and he gets a great gift from Nishi, one of his last friends who understands him and would never leave him like the others did. The scenes in which Horibe tells to Nishi about his loneliness and that everyone has left him are extremely powerful and really make think about the values of one's own life for the second time. Hana-bi is almost unbearably sad and emotional, and its most tragic character is Horibe, the partner who is paralyzed and totally abandoned by his wife and children after he loses his ability to move and be like his used to. What follows is all the great elements we've learned to wait from this artist from one of the greatest cinema lands in the world, Japan. Also one of Nishi's partners is shot dead in a scene, which belongs to the film's most powerful scenes and it is shown as a flashback, in the usual silent and symbolic style of the director. Nishi's partner is another tragic character, who is shot and paralyzed for the rest of his life during one shoot out. He is forced to deal with Yakuza in order to get some money for her medical care and other plans he has for her last days, and that leads of course to troubles with the gangsters as Nishi isn't able to pay back his loans. She is going to die soon, and all Nishi has in his mind is to make his wife's last weeks as enjoyable and nice as possible.
The film stars again the director himself as Nishi, a police man who learns his wife suffers from some extremely lethal disease which has taken her speech, too. Those who have experienced Sonatine may ask can a film be even more beautiful and brilliant, but Hana-bi is at least as masterful, if also different. Hana-bi reminds me pretty much of his more recent film, Brother (2000), which still has much more humor and positivism in it. Hana-bi (1997) is Japanese film maker Takeshi Kitano's masterpiece along his Sonatine (1993).
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