In general, the idea of creating something unique according post-modernism is absurd in the field of arts, as you can only hope to come up with formal experiments, as we have seen in literature where the concept of author and narrator, or rather the distinction between the two has been suspended. However, as the concepts of post-modernism have also aged (not that well to be honest), for example in the field of films we have witnessed how a rich pattern of references can indeed create a new story and form, and also, in the case of Sion Sono, establish ideas which you may call “Japanness”, something that is deeply embedded within the cultural texts of Japan, but at the same time reaches out to the world. In films like “Tag” or “Tokyo Tribe”, Sono already showed this concept to his viewers, but it is in masterpieces such as “Love Exposure” in which the director truly defines the idea. His 2013 feature “Why Don’t You Play in Hell?” is a continuation of these ideas, a film about filmmaking, the individual within a cultural subtext and above all a story that emphasizes Sono is indeed a true romantic at heart.

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Even though times have changed and their old cinema has closed down, The “Fuck Bombers”, a crew led by wannabe director Hirata (Hiroki Hasegawa) still remains, discussing movies and talking about their dream to one day make a movie. As they have grown older as well their lead, Sasaki (Tak Sakaguchi), who Hirata considers to be the “next Bruce Lee”, has also grown tired of their director’s antics, want to leave the “Bombers” for good.

Meanwhile, there is always the danger of a gang war in their city between a clan led by Muto (Jun Kunimura) and the other one by Ikegami (Shinichi Tsutsumi). However, with Muto’s wife, who once saved his life, being released from prison, her husband would like to make her dream come true, to see their daughter Mitsuko (Fumi Nakaido) in a movie. Because Mitsuko has left the set of the movie she was supposed to star in, Muto decides to make the movie himself and makes Koji (Gen Hoshino), a young man he mistakes for his daughter’s lover, the director of the new film, threatening to kill him if he should not finish or run away. By coincidence, Koji gets to know the “Bombers” so that Hirata’s wish to create the movie he always wanted may finally come true.

Similar to his other features, the characters in “Why Don’t You Play in Hell?” are defined as being in between the real and the fantastical, as one of the characters in the film mentions. With the introduction of Hirata and his gang of film enthusiasts, this notion is perhaps best emphasized since their recluse to the world of film, the safe refuge of the arcade or the movie theater has become a fort of the fantastical, a foundation of their dreams. Even with a vicious yakuza breathing down his neck, Hirata does not given in, always concentrating on camera angles, character development and sound design, an idea that frequently borders between the idealistic or romantic as well as the manic and obsessive.

Additionally, “Why Don’t You Play in Hell?” is highly self-aware, an idea frequently highlighted through exaggeration and the concept of the (media) idol. Characters like Muto and Ikegami play these larger than life gangster figures, juxtaposed through their embrace of Western culture and the idea of tradition, for example, when Ikegami insists his men have to wear kimonos and carry katanas instead of handguns. Considering this heightened approach to the characters both, Tsutsumi and Kunimura excel in their portrayal of their roles, with especially the former frequently stealing the show with his characters obsessive nature. The repeated blend of musical themes reminiscent of Kinji Fukasaku’s “Battles Without Honor and Humanity”-series and Brian De Palma’s “Scarface” may shed some light on the foundation of these characters.

In the end, Sono seems to say, it is the image that prevails. With characters like Hirata devoting their lives to images, the notion of the self-image in the gangster characters as well as the icon-ization of images through the media, you can be sure that the images will last. However, these images can be the result of a creative process, of obsession and even the banality of advertisement since the feud between the rivaling yakuza factions also begins with an advertisement for toothbrushes and the wish to become an icon.

“Why Don’t You Play in Hell” is a wonderful film about the power of images, cultural icons and their power. Through his wild mixture of references, editing and a great ensemble Sion Sono’s film offers great entertainment and also a lot of food for thought for those also interested in the subtext of culture.