IMDb > The Born Fighter (1966)

The Born Fighter (1966) More at IMDbPro »Kenka erejî (original title)

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Release Date:
9 November 1966 (Japan) See more »
In Okayama in the mid-1930s, Kiroku attends high school and boards with a Catholic family whose daughter... See more » | Add synopsis »
User Reviews:
WACKY Satire of Repressed, Fascistic Youths See more (9 total) »


  (in credits order)

Directed by
Seijun Suzuki 
Writing credits
(in alphabetical order)
Mitsutoshi Ishigami  screenplay (uncredited)
Kaneto Shindô 
Takashi Suzuki  novel

Produced by
Kazu Ôtsuka .... producer
Original Music by
Naozumi Yamamoto 
Cinematography by
Kenji Hagiwara 
Film Editing by
Mutsuo Tanji 
Production Design by
Takeo Kimura 
Art Direction by
Takeo Kimura 
Production Management
Masanori Yamanoi .... executive in charge of production
Second Unit Director or Assistant Director
Masami Kuzû .... assistant director
Sound Department
Yoshinobu Akino .... sound
Masatoshi Takase .... fight choreographer
Camera and Electrical Department
Hideo Kumagai .... gaffer
Other crew
Masaaki Honme .... dialect supervisor
Hiroshi Takao .... dialect supervisor

Production CompaniesDistributors

Additional Details

Also Known As:
"Kenka erejî" - Japan (original title)
"Fighting Elegy" - International (English title) (imdb display title), USA (DVD title)
See more »
86 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Movie Connections:
Referenced in 100 Years of Japanese Cinema (1995) (TV)See more »


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11 out of 13 people found the following review useful.
WACKY Satire of Repressed, Fascistic Youths, 20 March 2000
Author: scottbaiowulf from Shinjuku

Even though it suffers from acute VBS (Vinnie Barbarino Syndrome, i.e. all the "schoolchildren" are Thirtyish), this tale of burgeoning adolescent sexuality and burgeoning adolescent aggression is both funny and powerful. Directed by Suzuki Seijun [Tokyo Drifter, Branded to Kill] and scripted by Shindo Kaneto [who was in turn the director of Onibaba], Elegy to Violence has a lot more to say about conformity and militarism than allegedly profound films like Teshigihara's Face of Another.

As the young lad torn between swooning adoration for his Catholic girlfriend and the sense of power and purity he finds in paramilitary gangs, Hideki Takahashi overplays marvelously. He is an encyclopedia of twitches and cringing at first, but that gradually gives way to ridiculous hypermachismo as he gets into more and more fights. (or, as the subtitles put it, "scuffles")

Seijun Suzuki shows that he is keenly aware of the absurdity that underlies all of that hyperbolically heroic bloodshed that makes his other films so sublime.

But those of you just looking for your fix of hip 60s cinema won't be disappointed--with cartoonish sound effects, brutal action, stoned continuity, split screens, sudden fits of slapstick worthy of The Knack or Help!, and immortal lines like "Your manhood will cry if you are afraid" and "Oh Michiko, I do not masturbate--I FIGHT!", how can you go wrong?

Watch for the scene in which Our Hero climbs a watch tower to witness a "scuffle" that he himself fomented--an explicit homage to Yojimbo.

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