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In Okayama in the mid-1930s, Kiroku attends high school and boards with a Catholic family whose daughter, Michiko, captures his heart. He must, however, hide his ardor and other aspects of ... See full summary »
After World War II, some Tokyo prostitutes band together with a strict code: no pimps, attack any street walker who comes into our territory, defend the abandoned building we call home, and... See full summary »
A hit-man, with a fetish for sniffing boiling rice, fumbles his latest job, putting him into conflict with his treacherous wife, with a mysterious woman eager for death and with the phantom-like hit-man known only as Number One.
Part of the cycle of genre and Yakuza movies that Suzuki directed for Nikkatsu in the early to mid sixties, this film is one of his most memorable. It may not be as well known here as other films in this cycle, probably due to the period setting (1925), and the fact that the middle section has no fighting or action, as it focuses on the fugitive yakuza hiding in the crew of a tunnel construction project.
Suzuki's design sense shines here, with bridges, trains, boats serving as a modern architectural counterpoint to the beautiful Japanese open vistas. It is interesting how similar the themes of this movie are to recent genre films such as Bangkok Dangerous, and how different the execution. The action scenes are short bursts of stylized fighting mixing gunplay with samurai action. The story is more engaging than Suzuki's other Yakusa films. I got the feeling that the director was trying his best to explode the strict confines of the genre, while delivering a commercial product. The buildup to the extraordinary final confrontation, a choreographed samurai style fight inside and outside a traditional Japanese house, is very satisfying. Also interesting are the weird touches like the red boots two of the movie's characters wear.
In my humble opinion, another classic from Mr Suzuki.
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