| Hideki Takahashi | ... | Kiroku Nanbu | |
| Yûsuke Kawazu | ... | Suppon "Turtle" | |
| Junko Asano | ... | Michiko | |
| Takeshi Katô | |||
| Isao Tamagawa | ... | Principal | |
| Kayo Matsuo | |||
| rest of cast listed alphabetically: | |||
| Mitsuo Kataoka | ... | Takuan | |
| Hiroshi Midorikawa | ... | Ikki Kita | |
| Chikako Miyagi | ... | Yoshino Nanbu | |
| Keisuke Noro | ... | Kaneda | |
| Seijirô Onda | ... | Kiroku's Father | |
| Asao Sano | |||
Directed by | |||
| Seijun Suzuki | |||
Writing credits(in alphabetical order) | ||
| Mitsutoshi Ishigami | screenplay (uncredited) | |
| Kaneto Shindô | ||
| Takashi Suzuki | novel | |
Produced by | |||
| Kazu Otsuka | .... | producer | |
Original Music by | |||
| Naozumi Yamamoto | |||
Cinematography by | |||
| Kenji Hagiwara | |||
Film Editing by | |||
| Masami Tanji | |||
Production Design by | |||
| Takeo Kimura | |||
Art Direction by | |||
| Takeo Kimura | |||
Second Unit Director or Assistant Director | |||
| Masami Kuzuu | .... | assistant director | |
Sound Department | |||
| Yoshinobu Akino | .... | sound | |
Camera and Electrical Department | |||
| Hideo Kumagai | .... | gaffer | |
|
|
|
|
|
| The Disappearance of Haruhi Suzumiya | Fudoh: The New Generation | Scott Pilgrim vs. the World | Tora! Tora! Tora! | Heaven Knows, Mr. Allison |
|
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb Japan section |
This was only my fourth Seijun Suzuki film - after TOKYO DRIFTER (1966), BRANDED TO KILL (1967) and PISTOL OPERA (2001) - and it's a typically energetic outing, with strong doses of comedy augmenting the character study of a young man who can only express himself adequately through violence and how he is forced to take stock of his life after falling in love with a cultured young girl. Drawing obvious parallels to FIGHT CLUB (1999), the film's fight scenes are quite well done but, even more interestingly, it looks forward to the struggle between religious faith and a violent environment that would surface in later films, primarily the work of Martin Scorsese (the script of FIGHTING ELEGY was penned by Kaneto Shindo, director of THE NAKED ISLAND [1960] and ONIBABA [1964]!). However, the film runs out of steam towards the end by taking an unexpectedly serious (and propagandist) turn which doesn't sit comfortably with the anarchy that had gone on before!