Blood for Money! Sonny Chiba is "Golgo 13", a cold, calculating, ruthless assassin, working for the U.S. drug syndicate. His assignment: "take-out" Hong Kong's underworld kingpin. His only ... See full summary »
Sonny Chiba plays the character referred to as "Mr Soh", who is based on the true life founder of Shorinji Kempo, Doshin So. Mr Soh has been acting as a secret agent in Manchuria during the... See full summary »
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Karate master Kazuma gets severely beaten and crippled by nefarious rival Nikaido. Kazuma trains his loyal daughter Yumi in the martial arts so she can exact a harsh revenge on Nikaido and his band of evil thugs.
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Fabrizio De Angelis
Blood for Money! Sonny Chiba is "Golgo 13", a cold, calculating, ruthless assassin, working for the U.S. drug syndicate. His assignment: "take-out" Hong Kong's underworld kingpin. His only obstacle: a relentless cop, determined to stop him - no matter what the cost. The result is an explosive adventure through the seamy, violent streets of Hong Kong. Written by
Pretty typical Japan crime film of the middle 1970s - fast, cynical, unbelievable, flashy, empty. There are a couple of twists that raise it above the level of mere curiosity. first, Chiba's performance is fine. Second, the film is Japanese, but filmed in Hong Kong, on of the first efforts to cross the great divide between China and Japan that had been rendered and filled with blood during WWII. Interestingly, unlike similar Chinese efforts - e.g., A Man Called Tiger, The Angry Guest/Kung Fu Killers - there's no effort to explore differences between the two cultures: Hong Kong is just another thriving Asian metropolis, much like Tokyo. Perhaps this lack of notice of any difference is the crucial difference - come to think of it, Japanese action films of the 1970s don't have much to say about China in general, or Hong Kong - except to hint that the crime rate is unacceptably high there - which seems a bit churlish since all the professional killers in these films are Japanese. Oh, well.
One last historical note - this film clearly had as much impact on John Woo's "The Killer" as Melville's "Le Samourai" - more, I think, since the cop/killer relationship, given crude but important presentation here, is closer to the center of the Woo film than the implicit romance borrowed from the Melville film.
Nothing special, but worth a look.
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