| Ryô Ikebe | ... | Muraki | |
| Mariko Kaga | ... | Saeko | |
| Takashi Fujiki | ... | Yoh | |
| Chisako Hara | ... | Yakuza's lover | |
| Eijirô Tôno | ... | Gang leader | |
| Seiji Miyaguchi | ... | Gang leader | |
| rest of cast listed alphabetically: | |||
| Mikizo Hirata | ... | Mizuguchi | |
| Keiko Kuni | ... | Waitress | |
| Sôhei Kurata | ... | Hayakawa | |
| Shin'ichirô Mikami | ... | Reiji | |
| Hiroshi Mizushima | |||
| Shin'ya Mizushima | ... | Sabu | |
| Koji Nakahara | ... | Tamaki | |
| Tomoko Saitô | ... | Geisha | |
| Isao Sasaki | ... | Jiro | |
| Kyû Sazanka | ... | Imai | |
| Naoki Sugiura | ... | Aikawa | |
| Muga Takewaki | ... | Singer | |
| Isao Tamagawa | |||
| Akio Tanaka | ... | Patron | |
Directed by | |||
| Masahiro Shinoda | |||
Writing credits | ||
| Shintarô Ishihara | (based on the novel by) | |
| Masaru Baba | (screenplay) & | |
| Masahiro Shinoda | (screenplay) | |
Produced by | |||
| Shigeru Iwatsuki | .... | producer | |
| Masao Shirai | .... | producer | |
Original Music by | |||
| Yuji Takahashi | |||
| Tôru Takemitsu | |||
Cinematography by | |||
| Masao Kosugi | |||
Film Editing by | |||
| Yoshi Sugihara | |||
Art Direction by | |||
| Shigemasa Toda | |||
Sound Department | |||
| Hideo Nishizaki | .... | sound | |
Camera and Electrical Department | |||
| Akira Aomatsu | .... | gaffer | |
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| Rusty Knife | Lady Snowblood | High and Low | Born to Kill | Original Sin |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb Japan section |
Film devotees have long realized that the "new wave" art cinema of Japan in the 60's was as innovative and profound as the revolutionary American and European product of the era. What is now becoming clear to fans in the West inured to Godzilla and Starman is that the little-seen Japanese genre pictures of the time were in many cases just as startling and artistic. "Pale Flower" is a case in point. It has the breathtaking luminous-white on inky-black lighting, the fragmented framing, and massive potential energy threatening to explode from the edges of the screen that so characterize the contemporaneous films of Seijun Suzuki (of "Branded to Kill" fame). But instead of that director's post-modern excesses, this film takes a somber, meditative tack, not unlike Beat Takeshi's recent "Sonatine", presenting a carefully-wrought, moody character study amid the expected thrills. The musical score, when it surfaces, is suitably avant-garde, and the frame is filled with rich detail and well-defined characters, like the crime boss obsessed with his dental health. A must-see for the adventurous film buff.