Tony Takitani (2004) reads like the most delicate of Haiku. This is due to both its short run time, almost poetic meter, and open ended meditative stile. It is also drastically minimalist in style, with an almost architectural feal. The film eliminates all the fluff, both visually and thematically. Colors are drastically muted, and camera movement remains steady, feeling subdued throughout the entire film. Simultaneously, the thematic elements of the film mimic this. There is no extra information, no gratifying closure, just a plain structure. Takitani is all node and no satellite. The result is a stripped down story, which like Kurosawa's epic Rashamon (1950) leaves the viewer with the final interpretation. This utter austere environment works for the film because it so perfectly embodies its protagonist's essence.
This perhaps is the film's only strong down point. The continuously sulking Tony does sometimes come off as plain old emo. The result is the protagonist coming across as whiny. It makes the connection between the viewers and characters brittle. However, the exercise in style, and restraint make the film well worth an hour and some change.
