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2 items from 2016

Buichi Saito’s Tokyo Mighty Guy

18 July 2016 4:21 AM, PDT | AsianMoviePulse | See recent AsianMoviePulse news »

Buichi Saito's Tokyo Mighty GuySTORY65%ACTING72%DIRECTING70%VISUALS75%POSITIVESVery quick pace that makes the film easy to watchMany hilarious scenes and linesGreat restorationNEGATIVESThe script's nonsensicallity reveals its ageYou have to love Japanese cinema to watch it2016-07-1871%Overall ScoreReader Rating: (1 Vote)70%

Nikkatsu, the oldest film studio in Japan, inaugurated a star system in the late 1950s, finding talent and contracting them to a series of wild genre pictures. A prominent example of the tendency is “Tokyo Mighty Guy.”

Young Jiro returns to Tokyo after finishing his studies in French cuisine and opens a restaurant in Ginza. However, he stumbles upon many troubles as an ex-prime minister crashes his car in his restaurant, the Yakuza seems to demand money for protection, and Jiro does not seem able to stop helping everyone that comes across his way.

Buichi Saito directs a very entertaining film, which, although focuses on the comic element, »

- Panos Kotzathanasis

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Nikkatsu Diamond Guys Volume 1 | Blu-ray Review

15 March 2016 7:00 AM, PDT | ioncinema | See recent ioncinema news »

In celebration of Japan’s oldest film studio, Nikkatsu, Arrow Video assembles its first collection of titles reflecting the late 1950s inauguration of a star system contracted for their ‘Diamond Line.’ This trio of features reflects the rising popularity of extravagant genre narratives in the evolving system, and includes obscure titles from master auteurs such as Seijun Suzuki, Toshio Masuda, and Buichi Saito (early titles from Suzuki and Masuda were also part of a notable 2009 Eclipse series set, Nikkatsu Noir).

The pearl of the collection is Suzuki’s Voice without a Shadow, a rare gem from the master director’s early period. One of four films he made in 1958 (another being the early classic Underworld Beauty), it feels rather heavily modeled after various American film noir tropes, but in true Suzuki fashion, much more complicated. If “Beauty” felt like a generous Sam Fuller riff, then “Voice” seems a recalibration of something like Sorry, »

- Nicholas Bell

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