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
Mittwoch, 12. Dezember 2007
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
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