Production: Daiei
Color / Length: Color, 103 minutes
Director: Takashi Miike
Actors: Teah, Michelle Reis, Patricia Manterola, Ren Osugi
This one is among Miike’s more accessible films, though not exactly his best. Anyway, it is a rather enjoyable trip to the land of crime melodrama in its extreme.
Miike starts with a slow, Western-like prologue, which explodes into a gunfight and thus introduces the main character, a tough Brazilian named Mario (Teah). A man, who is good with weapons and shows no mercy with his enemies.
Then we are introduced to the main story in breathtaking speed as Mario practically jumps from a toilet seat (which has a sub machine gun concealed it) to a helicopter, then attacks a prisoner bus with people to be deported from Japan; his beloved Chinese beauty Kei (Michelle Reis) among them. Soon after the reunited lovers soar to the clouds using the helicopter again and the whole episode ends with them literally falling from the skies and landing (of course) unharmed.
But there’s no slowing down as Mario and Kei start to deal with many problems represented by the shadiest types, Tokyo, according to the film, is full of. Deportation is just one of the difficulties the lovers have to face. More dangerous to their health are: Fushimi (Koji Kikkawa), a young Yakuza struggling for power, Ko (Mitsuhiro Oikawa), a Triad leader hungry for control and enlarging his territories, last but not least is Lucia (Patricia Manterola), Mario’s ex who hasn’t forgotten that he dumped her for Kei. In addition to the main characters, there are some interesting side-characters like the sneaky Russian Kholodoski (Anatoli Krasnov) or the wise cracking Tokyo cops, who prefer to watch the going-ons instead of participating or even stopping them. In a chain reaction of relentless bloodshed most of the stories characters are killed within a short time. Ko is killed by Fushimi, Fushimi in turn dies in a gunfight with Mario. But there’s no happy end waiting at the end of the day for Mario and Kei, if there is something even more dangerous than the Yakuza or the Triads, than it is a jealous woman.
“The city of lost souls” is easy to watch. It moves in a fast pace, the action sequences are quite professionally staged (the gunfights have many references to classic Westerns, especially the one between Mario and Fushimi) and even Miike’s trademark eccentrities don’t seem irrelevant to the story.
The already famous cockfights filmed in Matrix-like manner spring to mind or the announcer from the Brazilian radio network in Tokyo who comments the confrontation like a football match (that’s soccer for non-euopeans).
But they’re only superficial highlights that are quickly forgotten. It seems Miike wanted to play with all kinds of stereotypes and clichés – genre, nationality, you name it. But because of stereotypes being what they are everything seems predictable and not very original, no matter how hard Miike tries. Mostly he succeeds in creating an atmosphere of Tokyo as a melting pot of more mixed races and more craziness than every city you’ve heard of, but he fails in creating anything more than a mood.
The characters are too familiar: greedy and ruthless young gangsters, passionate lovers ready to die for their love, jealous and crazy ex-girlfriends and shrewd cops. Maybe some irony would’ve helped (for once) but the actors play it straight through out the movie. Patricia Manterola does try to create something different with her role, but ultimately she fails as well. The overall result is a superficial load of stereotypes played expertly, while it could’ve been an ironic masterpiece.
“City” is a movie with national stereotypes galore. I wont comment on those connected with Chinese (like, of course, Ko meets Fushimi for the showdown behind a ping pong table), more on those familiar to westerners (nurtured on popular American films or Brazilian soap operas). We have once again a vodka guzzling, sneaky Russian with a surname no Slavic person would be able to pronounce (even for an unpatriotic Russian like yours truly it’s not funny anymore). But things are even worth with the Brazilians. What we all know about Brazilians is: Men play football and do “capoeira” stuff, women are always stunning beauties and dead jealous. Whatever Miike wanted to do with those stereotypes, it didn’t work and they are just repetitions of characters we’ve already seen a thousand times.
I guess Brazil would have to be beaten by some European squad in the world cup finals several times, before Brazilians will be associated with something else. But I guess it will stick to them forever, like Vodka drinking will always be a cliché stamped on every Russian male.
Secondly… According to many films and series the plight of Brazilian women is really hard. In so many films they spend most of the time doing life important activities like looking great and wearing as less clothes as possible only to find out, that their men are either hitting the ball (instead of working) or hitting on foreign girls (instead of “eating” at home). Seems they have the moral rights to show those guys what the wrong side of a gun is made for. The stereotyped that’s put on brazilian women is the hardest one to believe. Seriously, if I were in a company of a lady with the looks of Patricia Manterola, I’d be too busy to think of somebody else. But I’m not Brazilian, and we are talking about films, not real life. So, I have to stick to vodka and before downing my first glass I won’t forget to give this movie 3 Kitanos.
Guest Reviewer: Ivan Denisov
3 Kitanos
Mittwoch, 12. Dezember 2007
Blue Spring (2001)
Production: Kiss Films
Color / Length: Color, 83 minutes
Director: Toshiaki Toyoda
Actors: Ryuhei Matsuda, Hirofumi Arai, Sousuke, Takaoka, Yusuke Oshiba
Director Toshiaki Toyoda who brought us „Pornostar“ delivers a second masterpiece in cool nihilism – Blue Spring. Similar to Pornostar theres a cool Guitar Rock Score underlining the scenes when there is a point to make. The movie follows a band of misfits making their way through High School or rather… not making it through. Kujo is the seemingly detatched Boss, but it only is his ability of being the best in a game where the one who claps his hands the most, whilst hanging from a rooftop fence, that he had come so far. His Childhood chum Aoki expects something to happen, but Kujo doesent really care about his status, though he does defend it against others. He rather watches the going-ons, never really emotionally involved. Aoki, who is being pushed around by others, breaks with Kujo, when Kujo tells Aoki that he cant always rely on him helping him out with his problems. This leads to fatal consequences. The movie focuses on Kujo and Aoki, but there are some other characters, that do get the time to unfold. Hori and Ghost are two tragic/sad cases, that don’t manage it through High School alive or unbuttered. Then there is the midget Gardening Teacher who watches the boys and tries to give advice… advice that comes to late for Kujo, as he learns, that friendship is a precious thing, that one should cherish. A movie that practically only takes place on the High School grounds, a microcosmos on its own, with its rules and laws. Some striking set-pieces, magnificent actors and a Punk-Rock Score, that I’ll have to find on CD sometime, make this film worth watching. The downbeat overall feel and the missing of action (there is some, but its never really shown onscreen) could make this one a tough cookie for those who expect Volcano High or similar fare from Blue Spring. As a Part of “Youth in Peril watched by the Yakuza” I’ll give it...
4 Kitanos
Color / Length: Color, 83 minutes
Director: Toshiaki Toyoda
Actors: Ryuhei Matsuda, Hirofumi Arai, Sousuke, Takaoka, Yusuke Oshiba
Director Toshiaki Toyoda who brought us „Pornostar“ delivers a second masterpiece in cool nihilism – Blue Spring. Similar to Pornostar theres a cool Guitar Rock Score underlining the scenes when there is a point to make. The movie follows a band of misfits making their way through High School or rather… not making it through. Kujo is the seemingly detatched Boss, but it only is his ability of being the best in a game where the one who claps his hands the most, whilst hanging from a rooftop fence, that he had come so far. His Childhood chum Aoki expects something to happen, but Kujo doesent really care about his status, though he does defend it against others. He rather watches the going-ons, never really emotionally involved. Aoki, who is being pushed around by others, breaks with Kujo, when Kujo tells Aoki that he cant always rely on him helping him out with his problems. This leads to fatal consequences. The movie focuses on Kujo and Aoki, but there are some other characters, that do get the time to unfold. Hori and Ghost are two tragic/sad cases, that don’t manage it through High School alive or unbuttered. Then there is the midget Gardening Teacher who watches the boys and tries to give advice… advice that comes to late for Kujo, as he learns, that friendship is a precious thing, that one should cherish. A movie that practically only takes place on the High School grounds, a microcosmos on its own, with its rules and laws. Some striking set-pieces, magnificent actors and a Punk-Rock Score, that I’ll have to find on CD sometime, make this film worth watching. The downbeat overall feel and the missing of action (there is some, but its never really shown onscreen) could make this one a tough cookie for those who expect Volcano High or similar fare from Blue Spring. As a Part of “Youth in Peril watched by the Yakuza” I’ll give it...
4 Kitanos
Brother (2000)
Production: Bandai Visual
Color / Length: Color, 114 minutes
Director: Takeshi Kitano
Actors: Takeshi Kitano, Omar Epps, Claude Maki, Masaya Kato
It took a second viewing, but the second time around it suddenly dawned on me; „Brother“ is Takeshi Kitano’s answer to „Black Rain“. O.k., it’s not so obvious and most likely I’m wrong with my thesis, but it would fit Kitano’s wicked sense of humour well, wouldn’t it? In „Black Rain“ an American Cop goes to Japan and teaches the Japanese Cop (played by none other than Ken Takakura) how to handle criminals. In „Brother“ Takeshi Kitano flees to the USA and teaches the American how to be a real Gangster. „You wanna teach us how to be cops, I’ll teach you how to be Gangsters!“. Could be, couldn’t it?
Anyway.
Though there is an overall believe that Kitano solely made modern Yakuza-Movies, „Brother“ is actually only his second real Yakuza-Eiga. The only other real one is „Sonatine“. „Violent Cop“ and „Hana-Bi“ are basically Cop-Dramas (I’m using this term only because I can’t think of a better one...). And if the two aforementioned Movies are Cop-Dramas, „Boiling Point“ would be a Loser-Drama. There are Yakuzas in all 3 (Non-Yakuza-Eiga) Movies and it’s Kitano’s special depiction of them, that gives the impression they just as well could be Yakuza-Eigas, which, by the way, is the reason why we feature them on our site. What all of Kitano’s Movies do have in common, and „Brother“ makes no exception, is his rather slow build-up that suddenly shifts gear and explodes into short flashes of violence, as well as his dry sense of humour, which is a love it or hate it thing. I for one like his humour. „Brother“ has plenty of these Kitano trademarks, too many for some it seems, as there was much written about self-plagiarism in connection with „Brother“. But then again, what is a trademark? It’s a theme or style that is used in a repeating manner. Kitano is a Moviemaker who again and again has shown his will to experiment in the field of Movie-language (“Dolls”, “Zatoichi”), so I don’t believe it would be fair, calling him a One-Trick-Pony.
In “Brother” Kitano plays Yamamoto an Underboss an elderly Oyabun, who is in war with a rival fraction. When the Oyabun is killed while visiting his girlfriend, the Gumi falls apart and the rival Gang vows to take in all members if they are willing to disband the Gumi officially. The other Underbosses agree to this, while Kitano isn’t thinking of joining the other Gang. Because of his unwillingness to keep quiet, the Boss of the rival Gumi orders Kitanos former Gangbrother to kill him. Still bound in loyalty to him he instead makes it possible for Kitano to flee to America and sets-up a false execution.
When Kitano arrives in America he at first seems a little bit lost, seemingly speaking not one word of English and not being accustomed to the American way of life, practically giving $100 tips to anybody who crosses his way. While looking for his much younger Half-Brother Ken (Claude Maki) he crosses the path of a young Thug (Omar Epps), who tries to trick him out of $200 but instead gets his eye stabbed by a rather pissed off Kitano. As it later turns out the Thug is Denny, a friend of Kitanos younger Brother. Denny, Ken and two other Buddies live from small-time drug dealing, but they get into trouble with their Mexican supplier when Kitano beats him to pulp after some ridiculous demands on higher Profit shares.
When the supplier wants to retaliate, Kitano wipes out the whole Gang without a blink of the eye. The Turf is free for Kitano and his wide-eyed small-time crooks. Not enough, he takes on the whole Mexican Drug Connection and within a Year has control over a big Part of LA’s drug market. When his former Lieutenant Kato (Kitano regular Susumu Terajima) turns up in LA, it looks like the good old times are back for Kitano. That is until another Japanese Gang, led by the sly Shirase (Masaya Kato) gets in their way and it looks like war. But ultimately it’s the Mob who sends Kitano’s Gang into a Spiral of Death. A fate, that some face with macho-heroism, some with an air of fatigue, while others are simply afraid.
Though “Brother” has its share of stilted, wooden acting (Claude Maki being the worst offender) and an absolutely stupid ending (Omar Epps monologue) it’s a very enjoyable romp. The interaction between Kitano and Epps is usually fun to watch, especially during their gambling scenes. The jokes about the different ethnics sometimes are too broad, but at other times are hilarious poignant (the Michael Jordan dispute…). Dialogues aren’t Kitano’s strength, this becomes evident during some talk-heavy scenes, but he’s still a master of the unspoken emotion. Scenes like the one where Kitano and his former Lieutenant Kato throw paper-planes from a rooftop seem unnecessary or even stupid to some, but in the end they say much more about the relationship of those two men than any dialogue could. “Brother” features some of the finest contemporary Actors (Ryo Ishibashi, Ren Osugi, Masaya Kato) and even a cameo by one of the Icons of Yakuza-Eiga (Tetsuya Watari) and that alone should be reason to watch this movie. If you like Takeshi Kitanos other Yakuza-related Movies you’ll love “Brother”, if you don’t, then you’ll loathe it. I belong to the first group and that’s why it’s 4 out of 5 Kitanos for Kitano.
4 Kitanos
Color / Length: Color, 114 minutes
Director: Takeshi Kitano
Actors: Takeshi Kitano, Omar Epps, Claude Maki, Masaya Kato
It took a second viewing, but the second time around it suddenly dawned on me; „Brother“ is Takeshi Kitano’s answer to „Black Rain“. O.k., it’s not so obvious and most likely I’m wrong with my thesis, but it would fit Kitano’s wicked sense of humour well, wouldn’t it? In „Black Rain“ an American Cop goes to Japan and teaches the Japanese Cop (played by none other than Ken Takakura) how to handle criminals. In „Brother“ Takeshi Kitano flees to the USA and teaches the American how to be a real Gangster. „You wanna teach us how to be cops, I’ll teach you how to be Gangsters!“. Could be, couldn’t it?
Anyway.
Though there is an overall believe that Kitano solely made modern Yakuza-Movies, „Brother“ is actually only his second real Yakuza-Eiga. The only other real one is „Sonatine“. „Violent Cop“ and „Hana-Bi“ are basically Cop-Dramas (I’m using this term only because I can’t think of a better one...). And if the two aforementioned Movies are Cop-Dramas, „Boiling Point“ would be a Loser-Drama. There are Yakuzas in all 3 (Non-Yakuza-Eiga) Movies and it’s Kitano’s special depiction of them, that gives the impression they just as well could be Yakuza-Eigas, which, by the way, is the reason why we feature them on our site. What all of Kitano’s Movies do have in common, and „Brother“ makes no exception, is his rather slow build-up that suddenly shifts gear and explodes into short flashes of violence, as well as his dry sense of humour, which is a love it or hate it thing. I for one like his humour. „Brother“ has plenty of these Kitano trademarks, too many for some it seems, as there was much written about self-plagiarism in connection with „Brother“. But then again, what is a trademark? It’s a theme or style that is used in a repeating manner. Kitano is a Moviemaker who again and again has shown his will to experiment in the field of Movie-language (“Dolls”, “Zatoichi”), so I don’t believe it would be fair, calling him a One-Trick-Pony.
In “Brother” Kitano plays Yamamoto an Underboss an elderly Oyabun, who is in war with a rival fraction. When the Oyabun is killed while visiting his girlfriend, the Gumi falls apart and the rival Gang vows to take in all members if they are willing to disband the Gumi officially. The other Underbosses agree to this, while Kitano isn’t thinking of joining the other Gang. Because of his unwillingness to keep quiet, the Boss of the rival Gumi orders Kitanos former Gangbrother to kill him. Still bound in loyalty to him he instead makes it possible for Kitano to flee to America and sets-up a false execution.
When Kitano arrives in America he at first seems a little bit lost, seemingly speaking not one word of English and not being accustomed to the American way of life, practically giving $100 tips to anybody who crosses his way. While looking for his much younger Half-Brother Ken (Claude Maki) he crosses the path of a young Thug (Omar Epps), who tries to trick him out of $200 but instead gets his eye stabbed by a rather pissed off Kitano. As it later turns out the Thug is Denny, a friend of Kitanos younger Brother. Denny, Ken and two other Buddies live from small-time drug dealing, but they get into trouble with their Mexican supplier when Kitano beats him to pulp after some ridiculous demands on higher Profit shares.
When the supplier wants to retaliate, Kitano wipes out the whole Gang without a blink of the eye. The Turf is free for Kitano and his wide-eyed small-time crooks. Not enough, he takes on the whole Mexican Drug Connection and within a Year has control over a big Part of LA’s drug market. When his former Lieutenant Kato (Kitano regular Susumu Terajima) turns up in LA, it looks like the good old times are back for Kitano. That is until another Japanese Gang, led by the sly Shirase (Masaya Kato) gets in their way and it looks like war. But ultimately it’s the Mob who sends Kitano’s Gang into a Spiral of Death. A fate, that some face with macho-heroism, some with an air of fatigue, while others are simply afraid.
Though “Brother” has its share of stilted, wooden acting (Claude Maki being the worst offender) and an absolutely stupid ending (Omar Epps monologue) it’s a very enjoyable romp. The interaction between Kitano and Epps is usually fun to watch, especially during their gambling scenes. The jokes about the different ethnics sometimes are too broad, but at other times are hilarious poignant (the Michael Jordan dispute…). Dialogues aren’t Kitano’s strength, this becomes evident during some talk-heavy scenes, but he’s still a master of the unspoken emotion. Scenes like the one where Kitano and his former Lieutenant Kato throw paper-planes from a rooftop seem unnecessary or even stupid to some, but in the end they say much more about the relationship of those two men than any dialogue could. “Brother” features some of the finest contemporary Actors (Ryo Ishibashi, Ren Osugi, Masaya Kato) and even a cameo by one of the Icons of Yakuza-Eiga (Tetsuya Watari) and that alone should be reason to watch this movie. If you like Takeshi Kitanos other Yakuza-related Movies you’ll love “Brother”, if you don’t, then you’ll loathe it. I belong to the first group and that’s why it’s 4 out of 5 Kitanos for Kitano.
4 Kitanos
Branded to Kill (1967)
Production: Nikkatsu
Color / Length: b/w, 91 minutes
Director: Seijun Suzuki
Actors: Joe Shishido, Mariko Ogawa, Annu Mari, Koji Nanbara
Huh? What was that? I wasn’t really looking forward to this movie, after the disappointment that Tokyo Drifter was (see separate review). So I wasn’t really prepared for what was coming my way. After having seen Branded to Kill I wonder why people consider this to be similar to Tokyo Drifter. No way! Though it shares the same quirky approach to Yakuza-Eiga, Suzuki obviously isn’t interested in the classic formula of the genre; it is a baby of a different kind.
Branded to Kill definitely is majorly influenced by the New Wave of French Cinema, but it takes it’s styles (and mannerisms) to other heights. Beautifully shot, this must be one of the best photographed b/w movies I’ve ever seen. The lightning, the sets, the mood – absolutely magnificent! And Suzuki doesn’t shy away from some pretty cool shoot-out scenes (the one at the seaside is awesome, with some ideas that shame many movies with ten times higher budgets, even nowadays). Mostly they aren’t played out totally serious, but even I who usually like my Yakuza-Eiga straight faced couldn’t be anything else but overwhelmed.
The high amount of nude flesh visible in the movie probably would surprise many a viewer, considering the movie was made in 1967. But the Japanese Film industry never was too coy as long as you didn’t see pubic hair or genitalia. As for the Actors... Jo Shishido is something to be seen. Though he at first looks ridiculous with his hamster-cheekbones, he comes over pretty cool. Not in his role, but as an actor. I guess it needed a lot of chutzpah to go along with Suzukis way of filming. Annu Mari however is a beauty very similar to Meiko Kaji (a bigger nose...), with her mysterious role she fits into a long line of fascinating femme fatales. Well, that is until you see her bandaged up like a mummy...
What about the story then? Not much, though it isn’t all bollocks. Killer No 3 (Jo Shishido) fails to hit a foreign business man because of a Butterfly which landed on his rifle. His nympho Girlfriend tries to kill him and he flees to the Woman who ordered the kill (Annu Mari). A woman with a taste for Butterflies, dead birds and some bad suicidal tendencies. But she gets captured, tortured and seemingly killed. Something No 3 can’t take, so he goes of to face Killer No 1 the mysterious Best of them all Killers. But who is No 1, is Misako still alive and will No 3 manage to become the new No 1????
Not really a Yakuza-Eiga as we all know it, but a wonderful movie!
5 Kitanos
Color / Length: b/w, 91 minutes
Director: Seijun Suzuki
Actors: Joe Shishido, Mariko Ogawa, Annu Mari, Koji Nanbara
Huh? What was that? I wasn’t really looking forward to this movie, after the disappointment that Tokyo Drifter was (see separate review). So I wasn’t really prepared for what was coming my way. After having seen Branded to Kill I wonder why people consider this to be similar to Tokyo Drifter. No way! Though it shares the same quirky approach to Yakuza-Eiga, Suzuki obviously isn’t interested in the classic formula of the genre; it is a baby of a different kind.
Branded to Kill definitely is majorly influenced by the New Wave of French Cinema, but it takes it’s styles (and mannerisms) to other heights. Beautifully shot, this must be one of the best photographed b/w movies I’ve ever seen. The lightning, the sets, the mood – absolutely magnificent! And Suzuki doesn’t shy away from some pretty cool shoot-out scenes (the one at the seaside is awesome, with some ideas that shame many movies with ten times higher budgets, even nowadays). Mostly they aren’t played out totally serious, but even I who usually like my Yakuza-Eiga straight faced couldn’t be anything else but overwhelmed.
The high amount of nude flesh visible in the movie probably would surprise many a viewer, considering the movie was made in 1967. But the Japanese Film industry never was too coy as long as you didn’t see pubic hair or genitalia. As for the Actors... Jo Shishido is something to be seen. Though he at first looks ridiculous with his hamster-cheekbones, he comes over pretty cool. Not in his role, but as an actor. I guess it needed a lot of chutzpah to go along with Suzukis way of filming. Annu Mari however is a beauty very similar to Meiko Kaji (a bigger nose...), with her mysterious role she fits into a long line of fascinating femme fatales. Well, that is until you see her bandaged up like a mummy...
What about the story then? Not much, though it isn’t all bollocks. Killer No 3 (Jo Shishido) fails to hit a foreign business man because of a Butterfly which landed on his rifle. His nympho Girlfriend tries to kill him and he flees to the Woman who ordered the kill (Annu Mari). A woman with a taste for Butterflies, dead birds and some bad suicidal tendencies. But she gets captured, tortured and seemingly killed. Something No 3 can’t take, so he goes of to face Killer No 1 the mysterious Best of them all Killers. But who is No 1, is Misako still alive and will No 3 manage to become the new No 1????
Not really a Yakuza-Eiga as we all know it, but a wonderful movie!
5 Kitanos
Boiling Point aka 3 x 4 Juugatsu (1990)
Production: Shochiku-Fuji / Bandai
Color / Length: Color, 98 minutes
Director: Takeshi Kitano
Actors: Masahiko Ono, Yuriko Ishida, Takahito Iguchi, Minoru Iizuk, Takeshi Kitano
Boiling Point is an early entry into the Yakuza-Eiga genre of Takeshi Kitano. Kitano wrote, directed and starred in this film as he does many others. Many of the “Kitano” traits in the film are prevalent to his later works, specifically Sonatine. Violence is displayed without remorse or aggression, just something that happens and needs to be done, like getting gas for your car or cooking a hot dog. Also, those strange comedic occurrences between violent acts are continuous through the later part of the film, usually at someone else’s expense. Always a goodtime for “What the F***?!” and laughs. Unlike other Kitano movies, he is not the focal character in Boiling Point, although when he does appear on screen, he brings the most memorable and exciting moments of the script to the audience.
The ballpark story: Iguchi (Gadarokanaru Taka) is a baseball coach for a junior league baseball team. He is an ex-Yakuza. Although a straight citizen now, he still harbors the attitude and character of someone in the underworld. Masaki (Yurei Yanaji), an unmotivated slacker and his chums Kuzuo (Danken) and Akira (Makoto Ashikawa) play on Iguchi’s baseball team. Masaki also works at a gas station and while half-ass attending a Yakuza’s car, gets into a fight with him. The yakuza fakes injury and his Otomo Group wants payment as compensation. Iguchi used to belong to the Otomo group and tries to mediate for his young teammate. As a result, Iguchi beats up Muto (Bengal) of Otomo for disrespecting him. In retaliation, the Otomo group corners Iguchi and gives him a beating. Afterward, Iguchi plans a trip to Okinawa to buy a gun for revenge.
In his stead, Masaki and Kuzuo decide to go to Okinawa to obtain the weapon. When they arrive they meet a local Yakuza named Uehara (Kitano) and his buddy, Tamagi (Katsuo Tokashiki). Uehara is an uncontrollable yakuza that attacks at the drop of a hat. He is in bad standing with his own organization and has to repent by chopping off a little limb (which he doesn’t do). While with Uehara and his cohorts, Masaki and Kuzuo are propelled into many bizarre scenarios, such as: beatings, shootings, sex, dismemberments, homosexual advances and many awkward situations. They are the Tokyo bumpkins of the Okinawa underworld.
Soon enough, the charades end tragically and the boys are sent back to Tokyo with their new toys. Their well thought out plan of revenge takes a turn for the worse and Kuzuo and Akira are beaten badly while Masaki flees. Shamed by his selfish act, Masaki initiates a final explosive attack on the Otomo group.
My two-cents:What the hell are “Butterfly Eggs”? Anyway, this was solid early entry in the Kitano filmography. Those fan boys of his later films will certainly enjoy Boiling Point and can appreciate his style and methods commonly seen in his works. Make no mistake though; this is not one of his better flicks. Although, I’d say it was definitely in the top 5 of Kitano films (like No. 5). My only complaint was that Kitano didn’t show up on screen until 45 minutes into the movie. Also, does anyone else think that Kitano might be a little light in the loafers? Not that it bothers me, to each his own, but there seems to be an awful lot of fancy-boy awkward moments in many films in which he appears (ie. Gonin, Kikojiru, Boiling Point…). Anyway…sissy-boy or not, Kitano still cranks out a very satisfying Yakuza movie, like a snickers bar for the appetite. There’s enough violence and laughs to make us all piss ourselves for an hour and a half. If you’re an a-hole fan like I am, just buy the damn DVD. A stepping-stone flick that most Asian film dorks (like myself) will appreciate.
Guest Reviewer: Steven McVey
3 1/2 Kitanos
Color / Length: Color, 98 minutes
Director: Takeshi Kitano
Actors: Masahiko Ono, Yuriko Ishida, Takahito Iguchi, Minoru Iizuk, Takeshi Kitano
Boiling Point is an early entry into the Yakuza-Eiga genre of Takeshi Kitano. Kitano wrote, directed and starred in this film as he does many others. Many of the “Kitano” traits in the film are prevalent to his later works, specifically Sonatine. Violence is displayed without remorse or aggression, just something that happens and needs to be done, like getting gas for your car or cooking a hot dog. Also, those strange comedic occurrences between violent acts are continuous through the later part of the film, usually at someone else’s expense. Always a goodtime for “What the F***?!” and laughs. Unlike other Kitano movies, he is not the focal character in Boiling Point, although when he does appear on screen, he brings the most memorable and exciting moments of the script to the audience.
The ballpark story: Iguchi (Gadarokanaru Taka) is a baseball coach for a junior league baseball team. He is an ex-Yakuza. Although a straight citizen now, he still harbors the attitude and character of someone in the underworld. Masaki (Yurei Yanaji), an unmotivated slacker and his chums Kuzuo (Danken) and Akira (Makoto Ashikawa) play on Iguchi’s baseball team. Masaki also works at a gas station and while half-ass attending a Yakuza’s car, gets into a fight with him. The yakuza fakes injury and his Otomo Group wants payment as compensation. Iguchi used to belong to the Otomo group and tries to mediate for his young teammate. As a result, Iguchi beats up Muto (Bengal) of Otomo for disrespecting him. In retaliation, the Otomo group corners Iguchi and gives him a beating. Afterward, Iguchi plans a trip to Okinawa to buy a gun for revenge.
In his stead, Masaki and Kuzuo decide to go to Okinawa to obtain the weapon. When they arrive they meet a local Yakuza named Uehara (Kitano) and his buddy, Tamagi (Katsuo Tokashiki). Uehara is an uncontrollable yakuza that attacks at the drop of a hat. He is in bad standing with his own organization and has to repent by chopping off a little limb (which he doesn’t do). While with Uehara and his cohorts, Masaki and Kuzuo are propelled into many bizarre scenarios, such as: beatings, shootings, sex, dismemberments, homosexual advances and many awkward situations. They are the Tokyo bumpkins of the Okinawa underworld.
Soon enough, the charades end tragically and the boys are sent back to Tokyo with their new toys. Their well thought out plan of revenge takes a turn for the worse and Kuzuo and Akira are beaten badly while Masaki flees. Shamed by his selfish act, Masaki initiates a final explosive attack on the Otomo group.
My two-cents:What the hell are “Butterfly Eggs”? Anyway, this was solid early entry in the Kitano filmography. Those fan boys of his later films will certainly enjoy Boiling Point and can appreciate his style and methods commonly seen in his works. Make no mistake though; this is not one of his better flicks. Although, I’d say it was definitely in the top 5 of Kitano films (like No. 5). My only complaint was that Kitano didn’t show up on screen until 45 minutes into the movie. Also, does anyone else think that Kitano might be a little light in the loafers? Not that it bothers me, to each his own, but there seems to be an awful lot of fancy-boy awkward moments in many films in which he appears (ie. Gonin, Kikojiru, Boiling Point…). Anyway…sissy-boy or not, Kitano still cranks out a very satisfying Yakuza movie, like a snickers bar for the appetite. There’s enough violence and laughs to make us all piss ourselves for an hour and a half. If you’re an a-hole fan like I am, just buy the damn DVD. A stepping-stone flick that most Asian film dorks (like myself) will appreciate.
Guest Reviewer: Steven McVey
3 1/2 Kitanos
Dienstag, 11. Dezember 2007
Bloody Territories (1969) - Schällis Review
Production: Nikkatsu
Color / Length: Color, 88 minutes
Director: Yasuharu Hasebe
Actors: Akira Kobayashi, Tatsuya Fuji, Ryoji Hayama, Yuriko Hime
Whilst „Bloody Territories“ may not be one of the greatest Yakuza-Eigas of the sixties, it is a good example what Yakuza-Eiga was all about in the midstage of the Yakuza-Boom. Though in 1969 Toei had already begun to change their storylines from the more classic Ninkyo-Eiga into something more gritty and cynical (Modern Yakuza or Gokudo for example) it still would be another three or four years before the screen would be soaked by the blood of the nihilistic frenzy that the Yakuza-Eiga of the early and mid-Seventies would bring.
But back in 1969 Nikkatsu had only pushed up the sleaze level higher than it’s big rival Toei, otherwise their Yakuza-Eigas were rather formulaic. But thats a big part of the fun watching the sixties Yakuza-Eigas. Knowing that the deep sense of honor will ultimately lead to revenge and death. And in that context, mixed with the before mentioned high amount of sleaze, „Bloody Territories“ is a winner. The plot is the standard bad capitalist Yakuza (who wants everything) against the good old school Yakuza (who is willing to share) (capitalism vs. socialism...hmmm, I’ve never really noticed that subtext). Friendship, loyalty and honor are being tested by the new rules of the modern times.
„Bloody Territories“ may start out a little slow, but it kicks up the gears when the good Yakuzas get cornered and have to react. And with regular Yakuza-Eiga-Actors like Akira Kobayashi, Tatsuya Fuji and Yoshi Kato there’s always a high level of coolness involved, that makes you grab for the shades and a bottle of beer.
4 Kitanos
Color / Length: Color, 88 minutes
Director: Yasuharu Hasebe
Actors: Akira Kobayashi, Tatsuya Fuji, Ryoji Hayama, Yuriko Hime
Whilst „Bloody Territories“ may not be one of the greatest Yakuza-Eigas of the sixties, it is a good example what Yakuza-Eiga was all about in the midstage of the Yakuza-Boom. Though in 1969 Toei had already begun to change their storylines from the more classic Ninkyo-Eiga into something more gritty and cynical (Modern Yakuza or Gokudo for example) it still would be another three or four years before the screen would be soaked by the blood of the nihilistic frenzy that the Yakuza-Eiga of the early and mid-Seventies would bring.
But back in 1969 Nikkatsu had only pushed up the sleaze level higher than it’s big rival Toei, otherwise their Yakuza-Eigas were rather formulaic. But thats a big part of the fun watching the sixties Yakuza-Eigas. Knowing that the deep sense of honor will ultimately lead to revenge and death. And in that context, mixed with the before mentioned high amount of sleaze, „Bloody Territories“ is a winner. The plot is the standard bad capitalist Yakuza (who wants everything) against the good old school Yakuza (who is willing to share) (capitalism vs. socialism...hmmm, I’ve never really noticed that subtext). Friendship, loyalty and honor are being tested by the new rules of the modern times.
„Bloody Territories“ may start out a little slow, but it kicks up the gears when the good Yakuzas get cornered and have to react. And with regular Yakuza-Eiga-Actors like Akira Kobayashi, Tatsuya Fuji and Yoshi Kato there’s always a high level of coolness involved, that makes you grab for the shades and a bottle of beer.
4 Kitanos
Bloody Territories (1969) - McVey Review
Production: Nikkatsu
Color / Length: Color, 88 minutes
Director: Yasuharu Hasebe
Actors: Akira Kobayashi, Tatsuya Fuji, Ryoji Hayama, Yuriko Hime
This was a difficult movie for me to review. So far, most (not all) of my yakuza-eiga experience has been flooded with Kinji Fukasaku, Takeshi Kitano and Takashi Miike movies. So these are the viewing standards I had to compare this film to. Which is a very high standard and really isn’t fair.
The Story (in a nutshell): The movie stars Akira Kobayashi (Akira Tanake in Battles w/o H&H 3/4) as Yuji Otatke, a mid-level yakuza. There are other familiar faces, but I can’t put a name to them. Anyway, the Sakura Association is disbanding and all the clan bosses have agreed to it. All except Mr.Ogani (which is Yuji’s boss). When the others disband, the Kansai Association starts to muscle in on Ogani Clan territory and some fighting ignites. The remnants of the disbanded Sakura Association form a legit group called Kyowa. A mediator is called in to quell the forthcoming Ogani/Kansai war. After the ceremony, Mr. Ogani loses a ton of dough at a high stakes game that features other prominent heads. The deed to Ogani property & buildings were used as collateral, in order to save face in the high stakes game. Thus, Ogani’s property is taken from them and bought by the Kyowa Group. Yuji and Yato (second in command), come up with a scheme to net them big dollars to buy the property back, but Kyowa foils it. Jinno, brother of Kansai boss, wants the Ogani territory for himself. But the Kyowa, has promised the Kansai a large amount money (from Yuji’s deal) for it, which they accept. This all sets up a final confrontation with Kyowa, Yuji and Jinno.
My Opinion: This movie was sub-par. Judging from the title and DVD cover (everyone with a knife and blood covering a collage of characters) alone, I thought this was going to be a nonstop action packed kick ass film. Well, I was wrong. There wasn’t a single pistol used in this flick, everyone had knives (which isn’t bad), I’m expecting geysers of blood, slashing’s up the wahzoo, hacked limbs and a war torn Tokyo (Bloodless Territories?). No such luck. The only hacked limb was an off-screen pinky chop. And most of the blood that flowed was after the fact. Ok, I know you don’t need spurting blood for a good picture, but the story was bland and the action was out-right terrible. The action choreography was dreadfully slow and lacked any human response to the life or death struggles it tried to delivery. The style Hasebe uses (for this film) is very…boring (in my opinion of course – I haven’t seen his other films). Nothing fancy, no frantic camera movements (a la Fukasaku), no graphic fighting, and lackluster acting performances by all, just a “ho-hum” experience. The synopsis on the back of the DVD cover is quite exaggerated. I’d recommend watching it once, but not buying it. Don’t think this DVD will make it into my player to many times. I’ll stick with yakuza flicks from 1970 on.
Guest Reviewer: Steven McVey
2 Kitanos
Color / Length: Color, 88 minutes
Director: Yasuharu Hasebe
Actors: Akira Kobayashi, Tatsuya Fuji, Ryoji Hayama, Yuriko Hime
This was a difficult movie for me to review. So far, most (not all) of my yakuza-eiga experience has been flooded with Kinji Fukasaku, Takeshi Kitano and Takashi Miike movies. So these are the viewing standards I had to compare this film to. Which is a very high standard and really isn’t fair.
The Story (in a nutshell): The movie stars Akira Kobayashi (Akira Tanake in Battles w/o H&H 3/4) as Yuji Otatke, a mid-level yakuza. There are other familiar faces, but I can’t put a name to them. Anyway, the Sakura Association is disbanding and all the clan bosses have agreed to it. All except Mr.Ogani (which is Yuji’s boss). When the others disband, the Kansai Association starts to muscle in on Ogani Clan territory and some fighting ignites. The remnants of the disbanded Sakura Association form a legit group called Kyowa. A mediator is called in to quell the forthcoming Ogani/Kansai war. After the ceremony, Mr. Ogani loses a ton of dough at a high stakes game that features other prominent heads. The deed to Ogani property & buildings were used as collateral, in order to save face in the high stakes game. Thus, Ogani’s property is taken from them and bought by the Kyowa Group. Yuji and Yato (second in command), come up with a scheme to net them big dollars to buy the property back, but Kyowa foils it. Jinno, brother of Kansai boss, wants the Ogani territory for himself. But the Kyowa, has promised the Kansai a large amount money (from Yuji’s deal) for it, which they accept. This all sets up a final confrontation with Kyowa, Yuji and Jinno.
My Opinion: This movie was sub-par. Judging from the title and DVD cover (everyone with a knife and blood covering a collage of characters) alone, I thought this was going to be a nonstop action packed kick ass film. Well, I was wrong. There wasn’t a single pistol used in this flick, everyone had knives (which isn’t bad), I’m expecting geysers of blood, slashing’s up the wahzoo, hacked limbs and a war torn Tokyo (Bloodless Territories?). No such luck. The only hacked limb was an off-screen pinky chop. And most of the blood that flowed was after the fact. Ok, I know you don’t need spurting blood for a good picture, but the story was bland and the action was out-right terrible. The action choreography was dreadfully slow and lacked any human response to the life or death struggles it tried to delivery. The style Hasebe uses (for this film) is very…boring (in my opinion of course – I haven’t seen his other films). Nothing fancy, no frantic camera movements (a la Fukasaku), no graphic fighting, and lackluster acting performances by all, just a “ho-hum” experience. The synopsis on the back of the DVD cover is quite exaggerated. I’d recommend watching it once, but not buying it. Don’t think this DVD will make it into my player to many times. I’ll stick with yakuza flicks from 1970 on.
Guest Reviewer: Steven McVey
2 Kitanos
Blackmail is my Life (1968)
Production: Shochiku
Color / Length: Color, 89 minutes
Director: Kinji Fukasaku
Actors: Hiroki Matsukata, Tomomi Sato, Yoko Mihara, Tetsuro Tamba
If you know Kinji Fukasaku only as the director from such gritty, intense and bloody movies like „Fight without honor and humanity“ or „Battle Royale“ be prepared for something different with „Blackmail is my life“. Though „Blackmail“ does have it’s share of gruesome death‘ it is rather tame in comparison to the „Fight“-Movies. Not meaning, that it isnt good....
Hiroki Matsukata is Shun the charming but ruthless leader of a gang of blackmailers. He spends his time scheming on how to make more money, to finance his dandy-lifestyle. He doesn’t even stop from his ex-Girlfriend, now a high class actress, to get whatever he needs to pull through his intricate plans. But he hits bad luck, when he gets involved in a deal bigger than his usual small time blackmailings. Trying to gamble with corrupt politicians is as clever as pissing on an electrified wire. What starts out as a charming little story of a gang of outsiders, who make a living with crime, takes a turn into gritty crime drama about half way through. Shot in a style close to the French new wave, one can see where Fukasakus „cinema verite“–docu style, that he later perfected with his Fight-movies, had it’s roots. Though not an action-packed movie it has some nice action-set pieces. One of the highlights being the drug-deal gone wrong. Shot in a day for night style that at first irritates, it climaxes in a bloodbath, that taints the image of the „Heroes“.
Fukasaku got together an interesting and good looking cast, headed by a young Hiroki Matsukata who had made a splash two years earlier with „Yakuza Hoodlum“. Still far from his more tough roles in the seventies, he manages to convince as a charming but still dangerous Gangster. If you liked „Breathless“ (the Godard-Version) and/or are curious what put Fukasaku on his way to „Fight without honor and humanity“, check out „Blackmail is my life“. Not a masterpiece and not strictly Yakuza-Eiga, but an interesting little gem.
3 1/2 Kitanos
Color / Length: Color, 89 minutes
Director: Kinji Fukasaku
Actors: Hiroki Matsukata, Tomomi Sato, Yoko Mihara, Tetsuro Tamba
If you know Kinji Fukasaku only as the director from such gritty, intense and bloody movies like „Fight without honor and humanity“ or „Battle Royale“ be prepared for something different with „Blackmail is my life“. Though „Blackmail“ does have it’s share of gruesome death‘ it is rather tame in comparison to the „Fight“-Movies. Not meaning, that it isnt good....
Hiroki Matsukata is Shun the charming but ruthless leader of a gang of blackmailers. He spends his time scheming on how to make more money, to finance his dandy-lifestyle. He doesn’t even stop from his ex-Girlfriend, now a high class actress, to get whatever he needs to pull through his intricate plans. But he hits bad luck, when he gets involved in a deal bigger than his usual small time blackmailings. Trying to gamble with corrupt politicians is as clever as pissing on an electrified wire. What starts out as a charming little story of a gang of outsiders, who make a living with crime, takes a turn into gritty crime drama about half way through. Shot in a style close to the French new wave, one can see where Fukasakus „cinema verite“–docu style, that he later perfected with his Fight-movies, had it’s roots. Though not an action-packed movie it has some nice action-set pieces. One of the highlights being the drug-deal gone wrong. Shot in a day for night style that at first irritates, it climaxes in a bloodbath, that taints the image of the „Heroes“.
Fukasaku got together an interesting and good looking cast, headed by a young Hiroki Matsukata who had made a splash two years earlier with „Yakuza Hoodlum“. Still far from his more tough roles in the seventies, he manages to convince as a charming but still dangerous Gangster. If you liked „Breathless“ (the Godard-Version) and/or are curious what put Fukasaku on his way to „Fight without honor and humanity“, check out „Blackmail is my life“. Not a masterpiece and not strictly Yakuza-Eiga, but an interesting little gem.
3 1/2 Kitanos
Another Lonely Hitman (1995)
Production: GAGA Communications
Color / Length: Color, 107 minutes
Director: Rokuro Mochizuki
Actors: Ryo Ishibashi, Asami Sawaki, Tatsuo Yamada, Tetsuya Yuki
From the interviews I read and the rare photos I saw, I had the picture of Rokuro Mochizuki being an earnest film fanatic who isn’t ashamed of his background in Pinku-Eiga and only is trying to get a movie done now and then. Maybe a little on the sleazy side (he likes to point out how much he liked to film naked women during his Pinku-Eiga time) and surely not somebody I would trust my hard earned money to (yeah, the whole 30$), but probably good for a few drinks. After having viewed the video interview on artsmagic’s as always beautiful dvd (though this time some more extras would’ve been great), I was proven right. Rokuro Mochizuki indeed comes off as an earnest, a little sleazy, chain smoking movie fanatic who is in the business solely to tell interesting stories… and film naked women. A reason I can relate to.
“Another lonely Hit Man” is the movie that gave Rokuro Mochizuki the chance to do something different than shoot Pink movies or write scripts other people directed (though his first “serious” movie was “Skinless Night” a semi-autographic movie about Pinku-Eiga). “Hit Man” was planned as a movie Rokuro Mochizuki should’ve made for Toei, but they had just announced that they were stopping the production of Yakuza-Eiga – which put “Hit Man” on halt. It seemed “Hit Man” wasn’t going to be made until Gaga-Communications came along and gave Mochizuki another chance with the movie. Gaga had already made some movies with Takeshi Kitano, which meant that they were willing to take chances with the movies they produced. And “Hit Man” definitely was a risk to make; the story of “Another lonely Hit Man” surely didn’t have Blockbuster written all over it.
10 Years ago Takashi Tachibana (Ryo Ishibashi), high on Heroin, had killed a man for the sake of the gang. A woman who sat at the same table like the victim also was wounded and crippled for life. The whole scene watched by a little boy, who Tachibana had met in the lavatory. Though graphic (Mochizuki doesn’t shy away from some gore in this scene), the whole scene is shot in a casual, realistic way - there’s no style over substance here. If you ever wondered how Ken Loach would direct a Yakuza hit, this most likely comes closest. Tachibana goes off to jail for the next 10 Years.
At his release Tachibana is greeted by some members of the Gumi and they escort him to the HQ to meet the Boss. On his way, not used to riding in a car anymore, they have to stop and Tachibana is sick at the sideways of the street. The picture of Tachibana amidst the grey, concrete highways being sick says it all. This is the story of a man who doesn’t fit in the modern world anymore. But soon he shall find his ideal match, a young girl who hasn’t found her way INTO the modern world. Tachibanas welcome money is sacked by Mizohashi but he gets offered an apartment to stay and later in the evening a young call girl visits Tachibana; also a gift from the gang. She’s a talkative, skinny young thing, who likes to shoot up once in a while. Tachibana tries to fuck her, but he aint up to it yet, so they talk, go out and have some fun. When he brings her back to her place, he witnesses how her brutal Pimp starts to beat her up. He cant just turn away and beats hell out of him.
Because the Pimp is a high ranking member of another Gumi, Mizohashi has to settle the story with Tachibanas money. He also tells him how things work nowadays. The Yakuza aren’t rowdy Street Warriors anymore, they organize money for Projects, legal Projects; “Yakuza sell dreams to People now” he tells him. He also puts a Chinpira, Yuji, at his side who is to follow him everywhere. At first reluctant, Tachibana finally accepts Yuji, when he notices that he isn’t just a stupid Yakuza poser. Soon they make a good team, cleaning the streets from the drug peddlers who have infiltrated their Gangs Territory. This isn’t approved by all the high ranking members of the Gumi. Especially Mizohashi who is deeply involved in the drug business is furious.
In the meantime Tachibana puts his hooker girlfriend on cold turkey which leads to some wild confrontations between the two. But in the end it only strengthens their bond. They make plans about quitting their lives and starting over again.
When one of Mizohashi’s big Projects goes belly up and it looks like he and the boss of the Gang are going straight for a financial disaster, things heat up for every one involved. Tachibana, Yuji and Yuki are heading for a show down that involves a video camera, a jealous Pimp and some broken dreams.
A love story, more than a hard boiled Yakuza-Eiga, “Another lonely Hit Man” shows what can be done when you take a Genre and turn it upside down. Mochizuki takes regular Yakuza-Eiga set pieces and creates them new. When Tachibana has to commit Jubitsume, he isn’t the tough Yakuza Ken Takakura would’ve been, nor is the show down similar to anything I’ve ever seen in any Yakuza-Eiga. Bravely Mochizuki delves into the corners of the ultimate human fear; being alone in this big, cold world. The “old” Man who is confronted with his past, his failures (his first marriage) and the consequences his actions have had on other people (an innocent woman, who was wounded by him during the hit) – afraid, he might die without having the chance to put them right or to change them at least. The young Hooker, who needs someone who doesn’t only use her for their own needs, some one who cares and maybe selflessly does something for her. And even in Yuji you find a model for modern Angst, in his case the loss of a father figure who is there when the boy grown into a man. Maybe aleady knowing that the “son” will commit the same mistakes the “father” had done years earlier.
The same themes would be picket up later again by Mohizuki for his masterpiece “Onibi”. Those who have seen both most likely will agree, when I say that “Another lonely Hit Man” is a blueprint to “Onibi”; emotional, intriguing and definitely charming, but still on the rough side. A lot like the director actually. Earnest in its intentions, interested in telling a good story and some thimes a little sleazy. What else could one wish for? A Yakuza-Eiga with soul. Thank you Rokuri Mochizuki.
4 1/2 Kitanos
Color / Length: Color, 107 minutes
Director: Rokuro Mochizuki
Actors: Ryo Ishibashi, Asami Sawaki, Tatsuo Yamada, Tetsuya Yuki
From the interviews I read and the rare photos I saw, I had the picture of Rokuro Mochizuki being an earnest film fanatic who isn’t ashamed of his background in Pinku-Eiga and only is trying to get a movie done now and then. Maybe a little on the sleazy side (he likes to point out how much he liked to film naked women during his Pinku-Eiga time) and surely not somebody I would trust my hard earned money to (yeah, the whole 30$), but probably good for a few drinks. After having viewed the video interview on artsmagic’s as always beautiful dvd (though this time some more extras would’ve been great), I was proven right. Rokuro Mochizuki indeed comes off as an earnest, a little sleazy, chain smoking movie fanatic who is in the business solely to tell interesting stories… and film naked women. A reason I can relate to.
“Another lonely Hit Man” is the movie that gave Rokuro Mochizuki the chance to do something different than shoot Pink movies or write scripts other people directed (though his first “serious” movie was “Skinless Night” a semi-autographic movie about Pinku-Eiga). “Hit Man” was planned as a movie Rokuro Mochizuki should’ve made for Toei, but they had just announced that they were stopping the production of Yakuza-Eiga – which put “Hit Man” on halt. It seemed “Hit Man” wasn’t going to be made until Gaga-Communications came along and gave Mochizuki another chance with the movie. Gaga had already made some movies with Takeshi Kitano, which meant that they were willing to take chances with the movies they produced. And “Hit Man” definitely was a risk to make; the story of “Another lonely Hit Man” surely didn’t have Blockbuster written all over it.
10 Years ago Takashi Tachibana (Ryo Ishibashi), high on Heroin, had killed a man for the sake of the gang. A woman who sat at the same table like the victim also was wounded and crippled for life. The whole scene watched by a little boy, who Tachibana had met in the lavatory. Though graphic (Mochizuki doesn’t shy away from some gore in this scene), the whole scene is shot in a casual, realistic way - there’s no style over substance here. If you ever wondered how Ken Loach would direct a Yakuza hit, this most likely comes closest. Tachibana goes off to jail for the next 10 Years.
At his release Tachibana is greeted by some members of the Gumi and they escort him to the HQ to meet the Boss. On his way, not used to riding in a car anymore, they have to stop and Tachibana is sick at the sideways of the street. The picture of Tachibana amidst the grey, concrete highways being sick says it all. This is the story of a man who doesn’t fit in the modern world anymore. But soon he shall find his ideal match, a young girl who hasn’t found her way INTO the modern world. Tachibanas welcome money is sacked by Mizohashi but he gets offered an apartment to stay and later in the evening a young call girl visits Tachibana; also a gift from the gang. She’s a talkative, skinny young thing, who likes to shoot up once in a while. Tachibana tries to fuck her, but he aint up to it yet, so they talk, go out and have some fun. When he brings her back to her place, he witnesses how her brutal Pimp starts to beat her up. He cant just turn away and beats hell out of him.
Because the Pimp is a high ranking member of another Gumi, Mizohashi has to settle the story with Tachibanas money. He also tells him how things work nowadays. The Yakuza aren’t rowdy Street Warriors anymore, they organize money for Projects, legal Projects; “Yakuza sell dreams to People now” he tells him. He also puts a Chinpira, Yuji, at his side who is to follow him everywhere. At first reluctant, Tachibana finally accepts Yuji, when he notices that he isn’t just a stupid Yakuza poser. Soon they make a good team, cleaning the streets from the drug peddlers who have infiltrated their Gangs Territory. This isn’t approved by all the high ranking members of the Gumi. Especially Mizohashi who is deeply involved in the drug business is furious.
In the meantime Tachibana puts his hooker girlfriend on cold turkey which leads to some wild confrontations between the two. But in the end it only strengthens their bond. They make plans about quitting their lives and starting over again.
When one of Mizohashi’s big Projects goes belly up and it looks like he and the boss of the Gang are going straight for a financial disaster, things heat up for every one involved. Tachibana, Yuji and Yuki are heading for a show down that involves a video camera, a jealous Pimp and some broken dreams.
A love story, more than a hard boiled Yakuza-Eiga, “Another lonely Hit Man” shows what can be done when you take a Genre and turn it upside down. Mochizuki takes regular Yakuza-Eiga set pieces and creates them new. When Tachibana has to commit Jubitsume, he isn’t the tough Yakuza Ken Takakura would’ve been, nor is the show down similar to anything I’ve ever seen in any Yakuza-Eiga. Bravely Mochizuki delves into the corners of the ultimate human fear; being alone in this big, cold world. The “old” Man who is confronted with his past, his failures (his first marriage) and the consequences his actions have had on other people (an innocent woman, who was wounded by him during the hit) – afraid, he might die without having the chance to put them right or to change them at least. The young Hooker, who needs someone who doesn’t only use her for their own needs, some one who cares and maybe selflessly does something for her. And even in Yuji you find a model for modern Angst, in his case the loss of a father figure who is there when the boy grown into a man. Maybe aleady knowing that the “son” will commit the same mistakes the “father” had done years earlier.
The same themes would be picket up later again by Mohizuki for his masterpiece “Onibi”. Those who have seen both most likely will agree, when I say that “Another lonely Hit Man” is a blueprint to “Onibi”; emotional, intriguing and definitely charming, but still on the rough side. A lot like the director actually. Earnest in its intentions, interested in telling a good story and some thimes a little sleazy. What else could one wish for? A Yakuza-Eiga with soul. Thank you Rokuri Mochizuki.
4 1/2 Kitanos
Anego (1969)
Production: Nikkatsu
Color / Length: Color, 90 minutes
Director: Buichi Saito
Actors: Nobuko Aoki, Kanjuro Arashi, Ryoji Hayama, Akira Kobayashi
Probably this Movie was made with expectations on profiting on the success of the Toei Series “Red Peony” that featured Junko Fuji as a tough female Yakuza, who proofed to be cooler and deadlier than some of her male counterparts. Hiroki Ogi was chosen to fill those shoes for “Anego”. Ogi was a part of the Nikkatsu-Stable just like her colleague Meiko Kaji (with whom she would appear in the first “Female Convict Scorpion”-Movie a few years later) and had already starred in a few other Nikkatsu outings. At her side in “Anego” were other Nikkatsu and Yakuza-Eiga regulars like Akira Kobayashi, Ryohei Uchida or Kanjuro Arashi. In Buichi Saito, “Anego” had a director who had already proofed that he knew how to make a good Yakuza-Eiga, with titles like "Winner in the Gambling Dens" and "Ruthless Gambler" on his CV. Saito, who went to work for Toei in the seventies, incidentally was the director of the last “Red Peony” in 1972.
So, what do we have? A female Yakuza similar to “Red Peony”, a bunch of good Yakuza-Eiga actors and a time (1969) where the movies were getting more violent and bloody – sounds like a winner. But then again, “Anego” is up in competition with “Red Peony” and that for sure isn’t an easy feat.
One night Junichi Konno (Shinjiro Ebara) and his Wife Ai (Hiroki Ogi) are assaulted by thugs of the Kageyama-Clan. Thanks to his Wife Ai, Junichi survives, though badly wounded and his wife missing two fingers. The next day Kageyama (Ryohei Uchida) is summoned to his Oyabuns (Masao Shimizu) Headquarters, where he has to answer some questions.
Though Junichi was the one who was attacked, he takes the blame for Kageyama’s actions. With the help of Ai he cuts of two of his fingers, jokingly telling his weeping wife that now they are the same again. In a ceremony by the sea, Kageyama, Junichi and Isojima (the Oyabun), under surveillance from Hanamura (Kanjuro Arashi), renew their bond of loyalty; Junichi and Isojima hoping, that Kageyama will calm down again.
But only a little while later Kageyama returns his cup to Isojima, who then breaks down from grief and illness and asks Junichi to be his successor. But he doesn’t want to take over because of the Oyabuns son, Masateru, due for prison release within the next 3 month. Kageyama in the meantime openly shows his disrespect by invading Isojima territory with his men and causing a stir. Masateru Isojima returns and Junichi returns the lead back to him. They organize a succession ceremony which Kageyama refuses to join. He doesn’t even send his 2nd in command, which is a real “affront” against Masateru Isojima. Knowing that Kageyama is out for a big fight, Junichi gives him one last chance to end the ongoing dispute, forcing him at gunpoint to come to a meeting with him and Isojima jr.. But on the way to the reconciliation dinner, kageyama’s men attack Isojima and Junichi, while Isojima only gets wounded, Junichi dies protecting his Oyabun.
The Isojima clan wants to retaliate, but Kageyama already got arrested by the police, which gives him some time. Hanamura tells Isojima, that at the moment there is no possibility of revenge and Isojima opts for staying put. But when Kageyama appears at Junichi’s funeral some of Isojimas men want to go after him. A big fight is stopped in the last moment by Kano (Akira Kobayashi) an old friend of Junichis who came back for the funeral. Ai of course is shattered by the death of her husband and when the clan lets her go with no obligations to them she gets herself a tattoo that reads “neither my life, nor my body are of any means any more”. She then goes to the massage parlor where Kageyama is having some fun and tries to kill him. This of course fails and she’s nearly left for some ugly rape and violence, when Kano once again saves the day. He takes her beating but Kageyama lets both go. When in the next morning Ai wants to see for him, he’s gone.
Two years later.
Kageyama made it big in the meantime. At the opening of one his new casinos, Isojima jr., who is now wheelchair bound, storms the event and blames Kageyama for the downfall of the Isojima clan. Before Kageyama can get Isojima thrown out, Hanamura, who’s also present takes action and leaves the ceremony with Isojima. Ai works as a mama-san in a bar, where she’s often visited by Isojima gang members. One night Shinji (Jiro Okazaki), the younger brother of her dead husband, visits her and begs for some money. Ai, always a good soul, gives him what she’s got without the blink of an eye. Shinji wants to use it to escape with his hooker girlfriend. The trouble is that she is one of Kageyamas girls. When both get caught by some of Kageyamas men Shinji tries to fight his way out, but there are too many of them and he flees to Ai. When Kageyamas men track them down to the bar, once again Kano turns up out of the nothing, saving the day. But Kageyama won’t just let go even if Isojima is willing to give up his whole clan…..
Well… “Anego” doesn’t fail totally. But it isn’t the big surprise-wowy-zowy-Yakuza-Eiga-never-heard-of-but-pure-genius either. I guess one of the big problems is that for a Female Yakuza Flick, the woman of question isn’t present enough. She may save her husband in the first five minutes, but then for the next half hour she fades into the background only to come forth again when half of the movie is over. But there isn’t a “real” male hero either. Her husband dies after the first half and Akira Kobayashi only turns up in the second. So the only person around for the whole movie is baddy Ryohei Uchida, but that’s not too bad actually. Uchida makes a great villain, changing from “kinda” loyal into a cold Machiavellian Snake; ready to bite anyone who comes close enough (even throwing a wheelchair bound man down some stairs). There are some fight scenes, but they are rather mediocre in execution compared to some other stuff Nikkatsu had already showed in movies like “Villainy” or “Bloody Territories”.
“Red Peony” 1 – “Anego” 0, but acceptable as a not-to-bad Nikkatsu Yakuaz-Eiga.
3 1/2 Kitanos
Color / Length: Color, 90 minutes
Director: Buichi Saito
Actors: Nobuko Aoki, Kanjuro Arashi, Ryoji Hayama, Akira Kobayashi
Probably this Movie was made with expectations on profiting on the success of the Toei Series “Red Peony” that featured Junko Fuji as a tough female Yakuza, who proofed to be cooler and deadlier than some of her male counterparts. Hiroki Ogi was chosen to fill those shoes for “Anego”. Ogi was a part of the Nikkatsu-Stable just like her colleague Meiko Kaji (with whom she would appear in the first “Female Convict Scorpion”-Movie a few years later) and had already starred in a few other Nikkatsu outings. At her side in “Anego” were other Nikkatsu and Yakuza-Eiga regulars like Akira Kobayashi, Ryohei Uchida or Kanjuro Arashi. In Buichi Saito, “Anego” had a director who had already proofed that he knew how to make a good Yakuza-Eiga, with titles like "Winner in the Gambling Dens" and "Ruthless Gambler" on his CV. Saito, who went to work for Toei in the seventies, incidentally was the director of the last “Red Peony” in 1972.
So, what do we have? A female Yakuza similar to “Red Peony”, a bunch of good Yakuza-Eiga actors and a time (1969) where the movies were getting more violent and bloody – sounds like a winner. But then again, “Anego” is up in competition with “Red Peony” and that for sure isn’t an easy feat.
One night Junichi Konno (Shinjiro Ebara) and his Wife Ai (Hiroki Ogi) are assaulted by thugs of the Kageyama-Clan. Thanks to his Wife Ai, Junichi survives, though badly wounded and his wife missing two fingers. The next day Kageyama (Ryohei Uchida) is summoned to his Oyabuns (Masao Shimizu) Headquarters, where he has to answer some questions.
Though Junichi was the one who was attacked, he takes the blame for Kageyama’s actions. With the help of Ai he cuts of two of his fingers, jokingly telling his weeping wife that now they are the same again. In a ceremony by the sea, Kageyama, Junichi and Isojima (the Oyabun), under surveillance from Hanamura (Kanjuro Arashi), renew their bond of loyalty; Junichi and Isojima hoping, that Kageyama will calm down again.
But only a little while later Kageyama returns his cup to Isojima, who then breaks down from grief and illness and asks Junichi to be his successor. But he doesn’t want to take over because of the Oyabuns son, Masateru, due for prison release within the next 3 month. Kageyama in the meantime openly shows his disrespect by invading Isojima territory with his men and causing a stir. Masateru Isojima returns and Junichi returns the lead back to him. They organize a succession ceremony which Kageyama refuses to join. He doesn’t even send his 2nd in command, which is a real “affront” against Masateru Isojima. Knowing that Kageyama is out for a big fight, Junichi gives him one last chance to end the ongoing dispute, forcing him at gunpoint to come to a meeting with him and Isojima jr.. But on the way to the reconciliation dinner, kageyama’s men attack Isojima and Junichi, while Isojima only gets wounded, Junichi dies protecting his Oyabun.
The Isojima clan wants to retaliate, but Kageyama already got arrested by the police, which gives him some time. Hanamura tells Isojima, that at the moment there is no possibility of revenge and Isojima opts for staying put. But when Kageyama appears at Junichi’s funeral some of Isojimas men want to go after him. A big fight is stopped in the last moment by Kano (Akira Kobayashi) an old friend of Junichis who came back for the funeral. Ai of course is shattered by the death of her husband and when the clan lets her go with no obligations to them she gets herself a tattoo that reads “neither my life, nor my body are of any means any more”. She then goes to the massage parlor where Kageyama is having some fun and tries to kill him. This of course fails and she’s nearly left for some ugly rape and violence, when Kano once again saves the day. He takes her beating but Kageyama lets both go. When in the next morning Ai wants to see for him, he’s gone.
Two years later.
Kageyama made it big in the meantime. At the opening of one his new casinos, Isojima jr., who is now wheelchair bound, storms the event and blames Kageyama for the downfall of the Isojima clan. Before Kageyama can get Isojima thrown out, Hanamura, who’s also present takes action and leaves the ceremony with Isojima. Ai works as a mama-san in a bar, where she’s often visited by Isojima gang members. One night Shinji (Jiro Okazaki), the younger brother of her dead husband, visits her and begs for some money. Ai, always a good soul, gives him what she’s got without the blink of an eye. Shinji wants to use it to escape with his hooker girlfriend. The trouble is that she is one of Kageyamas girls. When both get caught by some of Kageyamas men Shinji tries to fight his way out, but there are too many of them and he flees to Ai. When Kageyamas men track them down to the bar, once again Kano turns up out of the nothing, saving the day. But Kageyama won’t just let go even if Isojima is willing to give up his whole clan…..
Well… “Anego” doesn’t fail totally. But it isn’t the big surprise-wowy-zowy-Yakuza-Eiga-never-heard-of-but-pure-genius either. I guess one of the big problems is that for a Female Yakuza Flick, the woman of question isn’t present enough. She may save her husband in the first five minutes, but then for the next half hour she fades into the background only to come forth again when half of the movie is over. But there isn’t a “real” male hero either. Her husband dies after the first half and Akira Kobayashi only turns up in the second. So the only person around for the whole movie is baddy Ryohei Uchida, but that’s not too bad actually. Uchida makes a great villain, changing from “kinda” loyal into a cold Machiavellian Snake; ready to bite anyone who comes close enough (even throwing a wheelchair bound man down some stairs). There are some fight scenes, but they are rather mediocre in execution compared to some other stuff Nikkatsu had already showed in movies like “Villainy” or “Bloody Territories”.
“Red Peony” 1 – “Anego” 0, but acceptable as a not-to-bad Nikkatsu Yakuaz-Eiga.
3 1/2 Kitanos
Montag, 5. November 2007
Agitator aka Outlaw Souls: Agitator (2001)
Production: Daiei
Color / Length: Color, 200 minutes
Director: Takashi Miike
Actors: Mickey Curtis, Yoshyuki Daichi, Naoto Takenaka
Review:
This is another Takashi Miike Yakuza Eiga (YE) I eagerly waited to see. I was fortunate enough to purchase the uncut version of this movie (~3 hours). Three hours of crazy YE action from Japan’s latest directing stud seemed like a dream. My hopes were super high with anticipation (they always are when it comes to top-notch directors and the YE genre). Although, the last Miike YE I watched was “Deadly Outlaw: Rekka” and I wasn’t impressed. I have faith that Miike is capable of producing intense, dynamic, F**k You Up, quality YE’s as he’s done in the past. Unfortunately, my most recent opinions of his movies have been a coin toss, good or bad. Agitator came in two parts (Part I: War Ensemble & Part II: Bloody War). What do you expect when the film is 3+ hours long? So, at least that’s something to look forward too if you’re a fan of the genre and the film is good. The movies star some fresh and old faces to Miike yakuza eiga. Again, the director himself makes a cameo appearance (the other I know of was “Graveyard of Honor”). The YE great Hiroki Matsukata plays the role of Kaido of the Tensei group. I love seeing this guy since his great YE 70’s flicks. He is easily becoming my second favorite YE actor (after Bunta of course).
So, the story goes… Part One: War EnsembleThe Yokomizo & Shirane gangs are the powers of the underworld in this Japanese city (Tokyo?). They are sworn enemies who live in relative peace. One day, a hired Shirane drug-addict (Miike) is sent into Yokomizo territory to stir up trouble and loses his life in the process by members of the Higuchi gang (who are under the Yokomizo umbrella). While both groups prepare for war or mediation, a hired assassin is sent to kill Yokomizo himself. Higuchi, sworn brother to Yokomizo, and his extreme Higuchi group are devastated. Kensaki, an erratic yakuza in the Higuchi group, is sent to kill Boss Shirane in revenge. Behind the scenes, the leader of the Tensei Association (a large yakuza group) has died and their executive members are vying for leadership. Kaido (Matsukata), a Tensei executive member wants to merge the Yokomizo & Shirane gangs and have them unite under his Tensei group, making him strongest of the other executive groups. He sets a plan of deceit and backstabbing and ignites a war with the Yokomizo outcasts, Higuchi Gang.
Part Two: Bloody WarWith both bosses of the Shirane & Yokomizo groups dead, next generation leaders are appointed. With Kaido’s mediation, both new bosses exchange the cup of bonding. Higuchi becomes suspicious of his peers and severs ties with Yokomizo. Which leads to Kenzaki rampaging against any who stand in the way of his boss, Higuchi. In the meantime, Kensaki and crew kidnap the second in command Shirane and extract information about what is really going on behind the scenes. Yokomizo and Shirane gang are set to merge under Kaido and his Tensei Association. In the exchange for the kidnapped, Higuchi is assassinated. Higuchi group has a newly appointed second generation boss, who goes back under the Yokomizo Group. Kenzaki dismantles his crew and sends them packing. Finally, the Kaido jig is up, but Kenzaki is bent on revenge, he sets a path of death and destruction against, Yokomizo, Shirane and Kaido.
I liked it. That’s all I can say. It wasn’t an orgasmic experience, nor was I wanting to stick my thumbs in my eyes. It was what it was, a straight up yakuza film. Maybe for the “shocked” Miike fan, there will be disappointment. Nothing shocking in this film. Lots of non-chalant shootouts though. The acting was decent and the story flowed well. The only thing I didn’t like/understand was the whole kaleidoscope thing and Kenzaki’s chick flashbacks. Made no sense at all and I got the feeling Miike wanted it to have a Bladerunner like feel to those out of place scenes. But, this was definitely a step up from “Deadly Outlaw: Rekka”. I recommend it for those Miike Yakuza fans, but the perverse sex starved gore fanatics will be disappointed. This film didn’t “WOW” me, but it was a good way to waste 3 hours of my life. A must for Miike dorks.
Guest Reviewer: Steven McVey
3 1/2 Katanas
Color / Length: Color, 200 minutes
Director: Takashi Miike
Actors: Mickey Curtis, Yoshyuki Daichi, Naoto Takenaka
Review:
This is another Takashi Miike Yakuza Eiga (YE) I eagerly waited to see. I was fortunate enough to purchase the uncut version of this movie (~3 hours). Three hours of crazy YE action from Japan’s latest directing stud seemed like a dream. My hopes were super high with anticipation (they always are when it comes to top-notch directors and the YE genre). Although, the last Miike YE I watched was “Deadly Outlaw: Rekka” and I wasn’t impressed. I have faith that Miike is capable of producing intense, dynamic, F**k You Up, quality YE’s as he’s done in the past. Unfortunately, my most recent opinions of his movies have been a coin toss, good or bad. Agitator came in two parts (Part I: War Ensemble & Part II: Bloody War). What do you expect when the film is 3+ hours long? So, at least that’s something to look forward too if you’re a fan of the genre and the film is good. The movies star some fresh and old faces to Miike yakuza eiga. Again, the director himself makes a cameo appearance (the other I know of was “Graveyard of Honor”). The YE great Hiroki Matsukata plays the role of Kaido of the Tensei group. I love seeing this guy since his great YE 70’s flicks. He is easily becoming my second favorite YE actor (after Bunta of course).
So, the story goes… Part One: War EnsembleThe Yokomizo & Shirane gangs are the powers of the underworld in this Japanese city (Tokyo?). They are sworn enemies who live in relative peace. One day, a hired Shirane drug-addict (Miike) is sent into Yokomizo territory to stir up trouble and loses his life in the process by members of the Higuchi gang (who are under the Yokomizo umbrella). While both groups prepare for war or mediation, a hired assassin is sent to kill Yokomizo himself. Higuchi, sworn brother to Yokomizo, and his extreme Higuchi group are devastated. Kensaki, an erratic yakuza in the Higuchi group, is sent to kill Boss Shirane in revenge. Behind the scenes, the leader of the Tensei Association (a large yakuza group) has died and their executive members are vying for leadership. Kaido (Matsukata), a Tensei executive member wants to merge the Yokomizo & Shirane gangs and have them unite under his Tensei group, making him strongest of the other executive groups. He sets a plan of deceit and backstabbing and ignites a war with the Yokomizo outcasts, Higuchi Gang.
Part Two: Bloody WarWith both bosses of the Shirane & Yokomizo groups dead, next generation leaders are appointed. With Kaido’s mediation, both new bosses exchange the cup of bonding. Higuchi becomes suspicious of his peers and severs ties with Yokomizo. Which leads to Kenzaki rampaging against any who stand in the way of his boss, Higuchi. In the meantime, Kensaki and crew kidnap the second in command Shirane and extract information about what is really going on behind the scenes. Yokomizo and Shirane gang are set to merge under Kaido and his Tensei Association. In the exchange for the kidnapped, Higuchi is assassinated. Higuchi group has a newly appointed second generation boss, who goes back under the Yokomizo Group. Kenzaki dismantles his crew and sends them packing. Finally, the Kaido jig is up, but Kenzaki is bent on revenge, he sets a path of death and destruction against, Yokomizo, Shirane and Kaido.
I liked it. That’s all I can say. It wasn’t an orgasmic experience, nor was I wanting to stick my thumbs in my eyes. It was what it was, a straight up yakuza film. Maybe for the “shocked” Miike fan, there will be disappointment. Nothing shocking in this film. Lots of non-chalant shootouts though. The acting was decent and the story flowed well. The only thing I didn’t like/understand was the whole kaleidoscope thing and Kenzaki’s chick flashbacks. Made no sense at all and I got the feeling Miike wanted it to have a Bladerunner like feel to those out of place scenes. But, this was definitely a step up from “Deadly Outlaw: Rekka”. I recommend it for those Miike Yakuza fans, but the perverse sex starved gore fanatics will be disappointed. This film didn’t “WOW” me, but it was a good way to waste 3 hours of my life. A must for Miike dorks.
Guest Reviewer: Steven McVey
3 1/2 Katanas
Afraid to Die (1960)
Production: Daiei
Color / Length: Color, 97 minutes
Director: Yasuzo Masumara
Actors: Yukio Mishima, Ayako Wakao, Eiji Funakoshi, Jun Negami
Review:
"You call yourself a Man?"
"No, I’m a Yakuza."
Outside of Japan, director Yasuzo Masumura is more known for his New Wave-influenced movies “Manji” and “Blind Beast” or his socio-critical comedies like “Giants and Toys” and “Black Test Car”. Little is known about his efforts in Yakuza-Eiga, although he created some of the most interesting genre bending examples of Yakuza-Eiga. Not only did he foreshadow the No-good-for-nothing Yakuza-Loner with “Afraid to die”, he also was responsible for the first (and the last) Part of the long-lasting Shintaro Katsu-Vehicle “Yakuza-Soldier”. Most of Masumuras movies transport some kind of criticism, be it about consumer- (Giants and Toys) or faux heroism (Yakuza Soldier). Mostly he manages to deliver the message packed in humour, black humour, that is. But please keep in mind; an interesting movie isn’t automatically an entertaining movie.
On his release-day, a substitute for Takeo Asahina (Yukio Mishima) get’s killed by a hitman of the Sagara-Group. Sagara (Jun Negami) wants to get revenge for an attempted Hit that sent Asahina into Prison in the first place. Not wholly believing that Asahina got taken out, Sagara follows Asahinas Uncle (Takashi Shimura) and Gangbrother Aikawa (Eiji Funakoshi) to the Tokyo Prison, where the wait for Asahina to be released. But since Asahina obviously is in danger, the Prison Director granted Asahinas wish to sneak out without being seen. Through this trick he manages to get into his turf without being noticed by anybody. He calls his Girlfriend Miasako (Yoshie Mizutani… no idea if she’s related to sexpot and “Weatherwoman” Kei Mizutani) who works as a singer in a sleazy cabaret (Listen closely to her Banana-Song, remember: 1960!). He manages to get a message through to her, before Sagaras men listen into the phone call. Miasako doesn’t seem too happy with meeting up with Asahina again, though she still is in love with him, she’s also having an affair with her manager. Both meet at the cinema run by the Asahina-Group, where Asahina also runs into Yoshie (Ayako Wakao) who works as an Usher in the cinema and at first doesn’t know who he is. After some wild sex, Asahina ditches Miasako, because it’s too dangerous for him to have someone he could be blackmailed with. Miasakos feelings are ambivalent, but she doesn’t throw a big fuss aobut it either.
Later on Asahina meets up with his Uncle and Gangbrother to celebrate his release. While Aikawa seems to have thoughts about quitting Ganglife, Uncle urges Asahina to take out Sagara once and forever. He still lives strongly after the Yakuzarules. Asahinas hesitation doesn’t please his Uncle, so he promises to try and kill Sagara. In the meantime Sagaras second introduces Masa “the asthmatic” (Shigeru Koyama), a Professional Killer from Hokkaido, to his Boss. “The asthmatic” isn’t just a nickname with no meaning, Masa has to rely heavily on medicine to keep going and his coughing and wheezing gives him away, everytime he’s near. For Yoshie, the Usher, things turn bad, when she visits her brother Shoichi (Keizo Kawasaki), who is heading a strike. Some of Sagaras men, camouflaged as strikebreakers, start a fight with the workers and in the chaos Yoshie gets thrown in Jail as well. Even worse, when she’s back out again, she finds that Asahina has already replaced her and shes without a job. But that’s not all; he rapes her and then declares that he actually likes her a lot. Hmmm….. Anyway. Aikawas Girlfriend who runs a little drugstore, tells him about a cancermedecin that had to be taken from the market because it had deadly sideeffects. A shipment of this medecin has gone missing and the Manufactorer would be ready to pay anything to get the medicine back. Aikawa sees this as the chance, to get to some money and make more out of the petty Asahina-Gang. After escaping another attempt on killing him, Asahina gets the chance to get to the medicine, which is in Sagaras hands, when he kidnaps Sagaras daughter. Everything seems to work the way he planned, when suddenly the Über-Godfather interfears.Though the Asahinas get their share of money and through Aikawas clever investment manag to grow bigger, there is lots of trouble around the corner for the Gang. A Pregnancy and another Kidnapping put Asahina into a spot, where he has to decide, what life he wants to live and whom he is loyal to. But can a man who always was a Yakuza suddenly change sides?
“Afraid to die” follows a rather classic storyline, only the characters are drawn out refreshingly new. Takeo Asahina is not the chivalrous Yakuza of the Ninkyo-Eiga (dont forget, this movie was made in 1960), he is an egoistic, cowardly Gangster, who’s not to bright and couldnt give shit about honour or morals. He treats his women like cheap whores and the thought of becoming a father drives him to do things (forced abortions f.e.), not even the worst of the Anti-Heroes of the Jitsuroku-Eiga would’ve done. But none of the Gangsters portrayed in “Afraid to die” is really brave, nor does anyone of them live “Jingi” (Asahinas Uncle being the sole exception). Even Asahinas bloodbrother Aikawa, who at first seems to be the real chivalrous hero, is more of a clever businessman than anything else. “Afraid to die” foreshadows the Anti-Hero of the seventies ten years before they would be peronalized by Bunta Sugawara, Tetsuya Watari or Hiroki Matsukata. But still, “Afraid to die” wasn’t an overwhelming experience; all in all it’s only a showcase for Poet-Actor-Politician Mishima and the distinctive style of director Yasuzo Masumura . “Afraid to die” is an interesting and maybe even an influential Yakuza-Eiga, but in my opinion no Masterpiece, there are just a little too many flaws for that.
3 1/2 Katanas
Color / Length: Color, 97 minutes
Director: Yasuzo Masumara
Actors: Yukio Mishima, Ayako Wakao, Eiji Funakoshi, Jun Negami
Review:
"You call yourself a Man?"
"No, I’m a Yakuza."
Outside of Japan, director Yasuzo Masumura is more known for his New Wave-influenced movies “Manji” and “Blind Beast” or his socio-critical comedies like “Giants and Toys” and “Black Test Car”. Little is known about his efforts in Yakuza-Eiga, although he created some of the most interesting genre bending examples of Yakuza-Eiga. Not only did he foreshadow the No-good-for-nothing Yakuza-Loner with “Afraid to die”, he also was responsible for the first (and the last) Part of the long-lasting Shintaro Katsu-Vehicle “Yakuza-Soldier”. Most of Masumuras movies transport some kind of criticism, be it about consumer- (Giants and Toys) or faux heroism (Yakuza Soldier). Mostly he manages to deliver the message packed in humour, black humour, that is. But please keep in mind; an interesting movie isn’t automatically an entertaining movie.
On his release-day, a substitute for Takeo Asahina (Yukio Mishima) get’s killed by a hitman of the Sagara-Group. Sagara (Jun Negami) wants to get revenge for an attempted Hit that sent Asahina into Prison in the first place. Not wholly believing that Asahina got taken out, Sagara follows Asahinas Uncle (Takashi Shimura) and Gangbrother Aikawa (Eiji Funakoshi) to the Tokyo Prison, where the wait for Asahina to be released. But since Asahina obviously is in danger, the Prison Director granted Asahinas wish to sneak out without being seen. Through this trick he manages to get into his turf without being noticed by anybody. He calls his Girlfriend Miasako (Yoshie Mizutani… no idea if she’s related to sexpot and “Weatherwoman” Kei Mizutani) who works as a singer in a sleazy cabaret (Listen closely to her Banana-Song, remember: 1960!). He manages to get a message through to her, before Sagaras men listen into the phone call. Miasako doesn’t seem too happy with meeting up with Asahina again, though she still is in love with him, she’s also having an affair with her manager. Both meet at the cinema run by the Asahina-Group, where Asahina also runs into Yoshie (Ayako Wakao) who works as an Usher in the cinema and at first doesn’t know who he is. After some wild sex, Asahina ditches Miasako, because it’s too dangerous for him to have someone he could be blackmailed with. Miasakos feelings are ambivalent, but she doesn’t throw a big fuss aobut it either.
Later on Asahina meets up with his Uncle and Gangbrother to celebrate his release. While Aikawa seems to have thoughts about quitting Ganglife, Uncle urges Asahina to take out Sagara once and forever. He still lives strongly after the Yakuzarules. Asahinas hesitation doesn’t please his Uncle, so he promises to try and kill Sagara. In the meantime Sagaras second introduces Masa “the asthmatic” (Shigeru Koyama), a Professional Killer from Hokkaido, to his Boss. “The asthmatic” isn’t just a nickname with no meaning, Masa has to rely heavily on medicine to keep going and his coughing and wheezing gives him away, everytime he’s near. For Yoshie, the Usher, things turn bad, when she visits her brother Shoichi (Keizo Kawasaki), who is heading a strike. Some of Sagaras men, camouflaged as strikebreakers, start a fight with the workers and in the chaos Yoshie gets thrown in Jail as well. Even worse, when she’s back out again, she finds that Asahina has already replaced her and shes without a job. But that’s not all; he rapes her and then declares that he actually likes her a lot. Hmmm….. Anyway. Aikawas Girlfriend who runs a little drugstore, tells him about a cancermedecin that had to be taken from the market because it had deadly sideeffects. A shipment of this medecin has gone missing and the Manufactorer would be ready to pay anything to get the medicine back. Aikawa sees this as the chance, to get to some money and make more out of the petty Asahina-Gang. After escaping another attempt on killing him, Asahina gets the chance to get to the medicine, which is in Sagaras hands, when he kidnaps Sagaras daughter. Everything seems to work the way he planned, when suddenly the Über-Godfather interfears.Though the Asahinas get their share of money and through Aikawas clever investment manag to grow bigger, there is lots of trouble around the corner for the Gang. A Pregnancy and another Kidnapping put Asahina into a spot, where he has to decide, what life he wants to live and whom he is loyal to. But can a man who always was a Yakuza suddenly change sides?
“Afraid to die” follows a rather classic storyline, only the characters are drawn out refreshingly new. Takeo Asahina is not the chivalrous Yakuza of the Ninkyo-Eiga (dont forget, this movie was made in 1960), he is an egoistic, cowardly Gangster, who’s not to bright and couldnt give shit about honour or morals. He treats his women like cheap whores and the thought of becoming a father drives him to do things (forced abortions f.e.), not even the worst of the Anti-Heroes of the Jitsuroku-Eiga would’ve done. But none of the Gangsters portrayed in “Afraid to die” is really brave, nor does anyone of them live “Jingi” (Asahinas Uncle being the sole exception). Even Asahinas bloodbrother Aikawa, who at first seems to be the real chivalrous hero, is more of a clever businessman than anything else. “Afraid to die” foreshadows the Anti-Hero of the seventies ten years before they would be peronalized by Bunta Sugawara, Tetsuya Watari or Hiroki Matsukata. But still, “Afraid to die” wasn’t an overwhelming experience; all in all it’s only a showcase for Poet-Actor-Politician Mishima and the distinctive style of director Yasuzo Masumura . “Afraid to die” is an interesting and maybe even an influential Yakuza-Eiga, but in my opinion no Masterpiece, there are just a little too many flaws for that.
3 1/2 Katanas
Abashiri Prison: Duel at the Wharf (1965) (Pt. 3)
Production: Toei
Color / Length: Color, 88 minutes
Director: Teruo Ishii
Actors: Ken Takakura, Naoki Sugiura, Kanjuro Arashi, Toru Abe
Review:
This part of the long lasting “Abashiri Prison”-Series is generally considered the best part of them all (at least, that’s what I read), which makes me wonder if I want to see any of the other parts, because this one was such a disappointment for me. “Duel at the wharf” (also known as “Abashiri Prison: going home”) is a rather melodramatic, talky and very badly edited Yakuza-Eiga.. There’s not a lot of action and even the last fight is sub par compared to other Yakuza-Eigas of that time.
Shin’Ichi returns to his hometown to become a better man and to go straight. Out of obligation he helps out the Oyabun of the Asahi-gumi (Kanjuro Arashi reprising his role of wise, old Oyabun) to keep his men, who work at the wharf, out of trouble with the rivalling Yasui-gumi, led by Yasui (Toru Abe, once again in the role as the evil, corrupt Yakuza). At the wharf he befriends the little half-blood Girl Emi (annoying; a little Japanese girl with black make-up and curly wig) which leads to some soppy “I’m gonna take care of you”-scenes. Yasui tries to provoke Asahi’s men into doing something which would give him the right to strike against the Yasui. He sends in white-clad Killer Joe (Naoki Sugiura) to build up the tension and get the wanted reactions. At first Shin’Ichi can keep the men out of trouble, even burning his Tattoo as a sign that he isn’t Yakuza anymore and that he has chosen a way without ….
Though Joe seems to watch this with respect, it is clear, that the final confrontation between the two men, will be a deadly one. When the head of the Asahi-gumi gets killed, Shin’Ichi goes into action, he grabs his Katana and takes on the whole Yasui-gumi alone. In the end there’s only Joe left, both are already covered in blood, Shin’Ichi from a wound and Joe from his bloody coughs of tuberculoses.
Ah… I really wanted to like it, but I just didn’t get into it. The little girl was so silly, the editing sloppy and the whole thing to… blah. Maybe I’ll give it another chance, but for now it’s only…
3 Katanas
Color / Length: Color, 88 minutes
Director: Teruo Ishii
Actors: Ken Takakura, Naoki Sugiura, Kanjuro Arashi, Toru Abe
Review:
This part of the long lasting “Abashiri Prison”-Series is generally considered the best part of them all (at least, that’s what I read), which makes me wonder if I want to see any of the other parts, because this one was such a disappointment for me. “Duel at the wharf” (also known as “Abashiri Prison: going home”) is a rather melodramatic, talky and very badly edited Yakuza-Eiga.. There’s not a lot of action and even the last fight is sub par compared to other Yakuza-Eigas of that time.
Shin’Ichi returns to his hometown to become a better man and to go straight. Out of obligation he helps out the Oyabun of the Asahi-gumi (Kanjuro Arashi reprising his role of wise, old Oyabun) to keep his men, who work at the wharf, out of trouble with the rivalling Yasui-gumi, led by Yasui (Toru Abe, once again in the role as the evil, corrupt Yakuza). At the wharf he befriends the little half-blood Girl Emi (annoying; a little Japanese girl with black make-up and curly wig) which leads to some soppy “I’m gonna take care of you”-scenes. Yasui tries to provoke Asahi’s men into doing something which would give him the right to strike against the Yasui. He sends in white-clad Killer Joe (Naoki Sugiura) to build up the tension and get the wanted reactions. At first Shin’Ichi can keep the men out of trouble, even burning his Tattoo as a sign that he isn’t Yakuza anymore and that he has chosen a way without ….
Though Joe seems to watch this with respect, it is clear, that the final confrontation between the two men, will be a deadly one. When the head of the Asahi-gumi gets killed, Shin’Ichi goes into action, he grabs his Katana and takes on the whole Yasui-gumi alone. In the end there’s only Joe left, both are already covered in blood, Shin’Ichi from a wound and Joe from his bloody coughs of tuberculoses.
Ah… I really wanted to like it, but I just didn’t get into it. The little girl was so silly, the editing sloppy and the whole thing to… blah. Maybe I’ll give it another chance, but for now it’s only…
3 Katanas
Abashiri Prison: Continuation (1965) (Pt. 2)
Production: Toei
Color, Length: Color, 87 minutes
Director: Teruo Ishii
Actors: Ken Takakura, Kanjuro Arashi, Toru Abe, George Ai, Kunie Tanake
Review:
The first Abashiri Prison was such a huge success, Toei gave green light to series status the same year and Teruo Ishii got together with practically the same crew of Part 1 to shoot the first of totally 17 sequels. Ken Takakura was back as Shin’Ichi Tachibana, Kanjuro Arashi as Onitora, Toru Abe as the evil Yoda and even Kunie Tanake has a small stand in as the likeable wannabe Playboy-Gangster. Part 2 was shot in colour instead of the black and white of Part 1 and the location shifted from the Walls and Surroundings of the Abashiri Prison, to the not so glamorous cities of Hokkaido-District. There is also a change of tone in the story, which took a turn to broader humour. Something, that would be changed again in Part 3 (Abashiri Prison: Return to the wharf), that has a more melodramatic approach.
Abashiri Prison: Continuation should carry the subtitle “who’s got the loot?”, because the whole story concentrates on some diamonds stolen from a bank safe and smuggled in a replica algae. By mistake Shin’Ichi (Ken Takakura) gets his hands on a part of the loot, but somehow the Police seem to believe he has something to do with the robbery and the involved murder of a Policeman (which of course he hasn’t), what doesn’t make it easy for him to return the diamonds. Together with his bumbling Underling and a female Pickpocket, Jumi, he tries to get the man who is responsible for the Robbery and the Murders (besides the Policeman, a thief involved in the robbery and a woman working as a smuggler got murdered by the scrupulous Killer). To get things a little complicated a bunch of Strippers gets pulled into the story as well, which leads to even more confusion to all the parties involved. On his way to find out who pulled the strings behind the robbery, Shin’Ichi gets unexpected help from Onitora (Kanjuro Arashi), an Oyabun whom he already had met in Abashiri Prison and though Onitora (or Tora as friends call him) may be old, he still knows how to throw a good punch. But Onitora is not the only familiar face Shin’Ichi meets. As it turns out, the man behind it all is Yoda (Toru Abe), the evil Yakuza, who already had tried to break Shin’Ichi in Abashiri Prison. When Yoda captures Jumi, he tries to exchange her for the diamonds that are in Shin’Ichi’s care. And although Shin’Ichi is ready to put his own life on risk for her, the story takes another unexpected turn when a stranger comes to the rescue, which leads to a crazy rugby-like chase after the replica algae in the midst of a fire festival and ends in a mud fight between Shin’Ichi and Yoda.
The Abashiri Prison-Series hasn’t yet managed to spark the fire in me. But to be honest, Part 2 had me entertained non-stop. Probably my expectations were so low, that it couldn’t have disappointed me any more. And this charming little story about some stolen diamonds and the ensuing chaos reminded me of some of the better Gangster B-Movies from sixties I liked to watch on Sunday afternoons. And there were some scenes that really had some visual flair or at least interesting ideas behind them. Probably I’m too good to this movie, because the Plot had more holes, than the socks I wore when I still was a bachelor and there was some very bad acting. Not one for the Fukasaku-Crew and not necessary mandatory viewing, but if you don’t know what to do on a rainy Sunday afternoon, give this bugger a chance.
3 1/2 Katanas
Color, Length: Color, 87 minutes
Director: Teruo Ishii
Actors: Ken Takakura, Kanjuro Arashi, Toru Abe, George Ai, Kunie Tanake
Review:
The first Abashiri Prison was such a huge success, Toei gave green light to series status the same year and Teruo Ishii got together with practically the same crew of Part 1 to shoot the first of totally 17 sequels. Ken Takakura was back as Shin’Ichi Tachibana, Kanjuro Arashi as Onitora, Toru Abe as the evil Yoda and even Kunie Tanake has a small stand in as the likeable wannabe Playboy-Gangster. Part 2 was shot in colour instead of the black and white of Part 1 and the location shifted from the Walls and Surroundings of the Abashiri Prison, to the not so glamorous cities of Hokkaido-District. There is also a change of tone in the story, which took a turn to broader humour. Something, that would be changed again in Part 3 (Abashiri Prison: Return to the wharf), that has a more melodramatic approach.
Abashiri Prison: Continuation should carry the subtitle “who’s got the loot?”, because the whole story concentrates on some diamonds stolen from a bank safe and smuggled in a replica algae. By mistake Shin’Ichi (Ken Takakura) gets his hands on a part of the loot, but somehow the Police seem to believe he has something to do with the robbery and the involved murder of a Policeman (which of course he hasn’t), what doesn’t make it easy for him to return the diamonds. Together with his bumbling Underling and a female Pickpocket, Jumi, he tries to get the man who is responsible for the Robbery and the Murders (besides the Policeman, a thief involved in the robbery and a woman working as a smuggler got murdered by the scrupulous Killer). To get things a little complicated a bunch of Strippers gets pulled into the story as well, which leads to even more confusion to all the parties involved. On his way to find out who pulled the strings behind the robbery, Shin’Ichi gets unexpected help from Onitora (Kanjuro Arashi), an Oyabun whom he already had met in Abashiri Prison and though Onitora (or Tora as friends call him) may be old, he still knows how to throw a good punch. But Onitora is not the only familiar face Shin’Ichi meets. As it turns out, the man behind it all is Yoda (Toru Abe), the evil Yakuza, who already had tried to break Shin’Ichi in Abashiri Prison. When Yoda captures Jumi, he tries to exchange her for the diamonds that are in Shin’Ichi’s care. And although Shin’Ichi is ready to put his own life on risk for her, the story takes another unexpected turn when a stranger comes to the rescue, which leads to a crazy rugby-like chase after the replica algae in the midst of a fire festival and ends in a mud fight between Shin’Ichi and Yoda.
The Abashiri Prison-Series hasn’t yet managed to spark the fire in me. But to be honest, Part 2 had me entertained non-stop. Probably my expectations were so low, that it couldn’t have disappointed me any more. And this charming little story about some stolen diamonds and the ensuing chaos reminded me of some of the better Gangster B-Movies from sixties I liked to watch on Sunday afternoons. And there were some scenes that really had some visual flair or at least interesting ideas behind them. Probably I’m too good to this movie, because the Plot had more holes, than the socks I wore when I still was a bachelor and there was some very bad acting. Not one for the Fukasaku-Crew and not necessary mandatory viewing, but if you don’t know what to do on a rainy Sunday afternoon, give this bugger a chance.
3 1/2 Katanas
Abashiri Prison aka Walls of Abashiri (1965) (Pt. 1)
Production: Toei
Color / Length: b/w, 92 minutes
Director: Teruo Ishii
Actors: Ken Takakura, Tetsuro Tanba, Toru Abe, Kanjuro Arashi
Review:
Abashiri Bangaichi/Abashiri Prison (also known as Walls of Abashiri) was the breakthrough role for Ken Takakura and the first Part of a long lasting series. Ken Takakura had already starred in a few movies that could be considered Yakuza-Eiga, but with Abashiri Prison he hit Gold. With the “Showa Zankyo-Den”-Series and the “Chivalrous Story of Japan”-Series he would later cement his status as leading man of Yakuza-Eiga.
The man behind the first batch of the Abshiri-Series was none other than Teruo Ishii, known in the west more for his Erotic-Grotesque movies, he made in the late sixties and early seventies. In the sixties, he was one of the leading directors if it came to Yakuza-Eiga, working with such talent as Takakura and Tsuruta regularly.
Ken Takakura plays a lone Wolf Yakuza who hasn’t yet given in to an absolute cynical view of life, values like honour and friendship still rank high with him and he lives for this code as he would die for it. In the first Part we meet Shin’Ichi (Ken Takakura) as he starts serving his prison sentence in the famous title-giving Abashiri Prison. The Abashiri Prison (which actually exists) lies deep in Hokkaido a part of Japan also known as the Japanese Siberia. But the cold weather is not the only problem, Shin’Ichi has to face. There are some shifty characters, who try to corrupt the rather serious and good hearted Shin’Ichi. Especially Gonda, a blueprint of a despicable ganster shit, who is chained to Shin’Ichi when they’re on outdoor labour, tries to provoke him every time he gets the chance to. But not all are bad in Abashiri. There is a wise old Oyabun (Kanjuro Arashi), who keeps to himself until he has to break into action and show the young ones, that he still can be a mean bastard, even in his old age. When Gonda makes for an escape, Shin’Ichi reluctantly has to join him, as he is still chained to the miserable psycho. The escape comes halfway through the movie and what was a male version of “Female Convict Scorpion” first, turns into a Japanese rip-off of “The defiant ones” (Tony Curtis/Sidney Portier).
Shot in b/w, the stark landscape of Hokkaido and the deep snow everywhere, seem like a nightmare of an arctic hell. Whoever built the Abashiri Prison there knew what effect the surrounding would have on the inmates. Strange, that a movie, that had such an unfriendly décor would be such a big hit (in Japan). But it works good for the movie, especially for the second part, when Shin’Ichi and Gonda are on the run. Though one can not really speak of running, as they more or less have to wade through the white stuff. And when they find other means of transport, it is by railway (watch for an extraordinary chase on the railways).
Half Prison drama, half Escape movie, Abashiri Prison is a hodgepodge of genres and in my opinion it doesn’t always work for its favour. Ishii’s direction is as always straight forward; you cant expect any visual gimmicks from him. So it’s down to the actors and here you really get the goods. Takakura gives a performance that would stick with him for the next decade, good hearted and calm but still rough enough if he would have to. Tetsuro Tanba (as a lawyer who puts his trust into Shin’Ichi) for once isn’t as stiff as in other movies and gives a believable portrayal of a man pushed into extremes, while Hiroshi Nanbara (as Gonda) is a perfect (if sometimes a little OTT) evil slime ball who rapes for fun and knows no boundaries for his immorality. Oh, and of course there’s good old “funny face” Kunie Tanake, who graced many a Yakuza-Eiga in the sixties and seventies by his presence.Over all not really a masterpiece, even though it has this iconic status, but a MUST for the Yakuza-Eiga enthusiast.
4 Katanas
Color / Length: b/w, 92 minutes
Director: Teruo Ishii
Actors: Ken Takakura, Tetsuro Tanba, Toru Abe, Kanjuro Arashi
Review:
Abashiri Bangaichi/Abashiri Prison (also known as Walls of Abashiri) was the breakthrough role for Ken Takakura and the first Part of a long lasting series. Ken Takakura had already starred in a few movies that could be considered Yakuza-Eiga, but with Abashiri Prison he hit Gold. With the “Showa Zankyo-Den”-Series and the “Chivalrous Story of Japan”-Series he would later cement his status as leading man of Yakuza-Eiga.
The man behind the first batch of the Abshiri-Series was none other than Teruo Ishii, known in the west more for his Erotic-Grotesque movies, he made in the late sixties and early seventies. In the sixties, he was one of the leading directors if it came to Yakuza-Eiga, working with such talent as Takakura and Tsuruta regularly.
Ken Takakura plays a lone Wolf Yakuza who hasn’t yet given in to an absolute cynical view of life, values like honour and friendship still rank high with him and he lives for this code as he would die for it. In the first Part we meet Shin’Ichi (Ken Takakura) as he starts serving his prison sentence in the famous title-giving Abashiri Prison. The Abashiri Prison (which actually exists) lies deep in Hokkaido a part of Japan also known as the Japanese Siberia. But the cold weather is not the only problem, Shin’Ichi has to face. There are some shifty characters, who try to corrupt the rather serious and good hearted Shin’Ichi. Especially Gonda, a blueprint of a despicable ganster shit, who is chained to Shin’Ichi when they’re on outdoor labour, tries to provoke him every time he gets the chance to. But not all are bad in Abashiri. There is a wise old Oyabun (Kanjuro Arashi), who keeps to himself until he has to break into action and show the young ones, that he still can be a mean bastard, even in his old age. When Gonda makes for an escape, Shin’Ichi reluctantly has to join him, as he is still chained to the miserable psycho. The escape comes halfway through the movie and what was a male version of “Female Convict Scorpion” first, turns into a Japanese rip-off of “The defiant ones” (Tony Curtis/Sidney Portier).
Shot in b/w, the stark landscape of Hokkaido and the deep snow everywhere, seem like a nightmare of an arctic hell. Whoever built the Abashiri Prison there knew what effect the surrounding would have on the inmates. Strange, that a movie, that had such an unfriendly décor would be such a big hit (in Japan). But it works good for the movie, especially for the second part, when Shin’Ichi and Gonda are on the run. Though one can not really speak of running, as they more or less have to wade through the white stuff. And when they find other means of transport, it is by railway (watch for an extraordinary chase on the railways).
Half Prison drama, half Escape movie, Abashiri Prison is a hodgepodge of genres and in my opinion it doesn’t always work for its favour. Ishii’s direction is as always straight forward; you cant expect any visual gimmicks from him. So it’s down to the actors and here you really get the goods. Takakura gives a performance that would stick with him for the next decade, good hearted and calm but still rough enough if he would have to. Tetsuro Tanba (as a lawyer who puts his trust into Shin’Ichi) for once isn’t as stiff as in other movies and gives a believable portrayal of a man pushed into extremes, while Hiroshi Nanbara (as Gonda) is a perfect (if sometimes a little OTT) evil slime ball who rapes for fun and knows no boundaries for his immorality. Oh, and of course there’s good old “funny face” Kunie Tanake, who graced many a Yakuza-Eiga in the sixties and seventies by his presence.Over all not really a masterpiece, even though it has this iconic status, but a MUST for the Yakuza-Eiga enthusiast.
4 Katanas
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