The Expressionist Aesthetic of 'John Wick: Chapter 4'

Some might argue that "John Wick: Chapter 4" is too "light-polluted," as the excessive dramatic lighting diminishes the stability and credibility of the visuals. However, the creators intentionally embraced expressionism, aligning music, art, and cinematography to accentuate the rhythm and tone of the action.

Looking at the pre-production ambiance-setting images, what filmmaker styles come to mind? Does it evoke an artistic aesthetic akin to directors like Wong Kar Wai or Bernardo Bertolucci?

Indeed, director Chad Stahelski drew inspiration from films like "In the Mood for Love," especially regarding color schemes, character, and scene connections. However, the "John Wick" series aims for handheld action sequences paired with vibrant color contrasts, crafting an ultimate blend of art-house and grindhouse (a 70s B-movie genre) cinema.

"John Wick: Chapter 4" predominantly employs green and amber tones. The darker the scene, the more singular and intense the color tendencies become.

Osaka, Japan

As a highly favored Asian cultural symbol in Hollywood, Japan has become indispensable in gangster films and action flicks. Contrasting with the clichéd cultural settings that usually add Aomori lanterns and traditional Japanese houses, "John Wick: Chapter 4" tries to integrate more bushido spiritual symbols and implicit aesthetic expressions.

In the Osaka Intercontinental Hotel, glimpses of 17th-century Japanese art coexist with highly abstract contemporary decorative art. Initial scenes present a montage of familiar scenes from the Dotonbori commercial district in Osaka. While the hotel lobby is adorned with cherry blossom trees, the initial ambiance leans towards warm tones. Contrasting this is the scene where John Wick meets on an island, standing before a cherry blossom tree bathed entirely in red light, reminiscent of medieval Japanese ronin. These figures often stood before cherry blossoms, recounting lives of loss, guilt, and regret.

The cherry blossoms in Japan symbolize life and death, beauty and renewal—a theme subtly hinted at throughout the "John Wick" series. In this moment, the red enveloping John symbolizes the fear stirring within him, hinting at his decision in the climax.

The tone shifts when facing Marquis's executors in the hotel lobby; warm-colored lights abruptly change to green, signaling darkness and danger.

The final battle transitions to the exhibition room of the Intercontinental Hotel, where glass and mirrors, favored elements in "John Wick," take center stage. While reminiscent of the all-glass space in the third film, this setting primarily emphasizes the theme of Japanese warriors, showcasing various samurai armor pieces from different eras.

The juxtaposition between traditional Japanese decorative paintings on the screens and the samurai attire encased within glass-metal frames adds grandeur to the fighting scenes. Even the blood splatters from John's execution of the executors conveniently land on a taiko drum, seamlessly integrating violence into aesthetic beauty. This venue marks John Wick's pivotal encounter with Caine, played by Donnie Yen.

However, the most quintessential Japanese symbolically charged scenes are reserved for the end. If you've played "Cyberpunk 2077," you may have witnessed various modern or futuristic Japanese cultural designs. The rhythmic placement of bamboo lamps, mimetic dry landscapes, and natural Zen gardens also appear frequently in other film productions.

As John boards the subway, leaving the Osaka hotel, fatherless Akira arrives for a final encounter. The scene is steeped in red, symbolizing Akira's anger, destruction, and revenge. After John returns to New York to express condolences to Charon, the cold winter and blue tones express the pain of losing a dear friend.

Berlin

Arriving in Berlin, John aims to restore relations within the Ruska Roma crime family, requiring him to eliminate the German underworld boss, Kira, to earn the family's emblem. The bar fight scene is surreal, using water as a barrier, allowing John to interact with enemies and the maze-like setting, creating an expressionistic aesthetic atmosphere.

The waterfalls and most of the water are genuine. The director intended to use as few CGI effects as possible, making lighting and camera angles a significant challenge, necessitating handheld devices on cranes. The fight within the waterfall scene with intense backlighting silhouetting the characters enhances the composition. The colors here are equally vivid but more striking compared to the elegant orderliness in Japan. John seems to revert to the cold hunter he was at the start of his journey.

The original ambiance setting of Kira's office contrasts significantly with the backdrop illuminated by spotlights in the film:

Paris

Winston meets Marquis, informing him of John's lawful claim and challenging him to a duel. As a noble, Marquis sits in a hall adorned with classical paintings, facing Eugene Delacroix's "Liberty Leading the People." The image, commemorating the July Revolution depicts a woman as the embodiment of freedom and fighters opposing monarchial tyranny, with heaps of proletariats serving as her foundation. The painting symbolizes the conflict between John and the High Table.

Before the showdown, John and Caine meet in the iconic Gothic cathedral of Paris. The intricately detailed columns and candlelit platforms evoke a religious undertone, depicting two souls unable to seek redemption after committing sins. This sets the stage for the climax.

Following an action-packed sequence, the atmosphere reaches a visual crescendo during dawn (actually filmed at night with massive lighting). As daylight breaks, John and Caine prepare for their life-or-death duel before Sacré-Cœur Basilica. The golden-hour sunlight symbolizes new possibilities for their freedom.

The sequence of Marquis's demise is ingeniously designed, granting both individuals freedom under the rules. A heavily injured John collapses on the cathedral stairs, the dark sky pierced by sunlight, illuminating the weary warrior—a nod to the wish for salvation within the church. As John gazes at the rising sun, reminiscing about an unexperienced life for the last time and uttering the name of his beloved wife before laying down, perhaps for eternal rest, this ending couldn't be more poetic.

"John Wick: Chapter 4" is undoubtedly an excellent commercial action film template evolving from a cult movie, but it doesn't overlook its artistic value. Vivid colors, nuanced depth of field, action amid light and shadow, paying deep homage to expressionism.