I am a big Japanese Yakuza films lover, although not being a great specialist. I only love this kind of features. But that's the first time I see a crime film from the Rising Sun country starring Toshiro Mifune and Koji Tsuruta. I would have imagined Takakura Ken, Bunta Sugawara, Noburu Ando or Tetsua Watari as well...This film would have pleased to Jean-Pierre Melville. I mean the scheme: a manhood friendship between a cop and a gangster, played here by Tsuruta Koji. But, of course, Melville would have made such a movie in a different way, without humor touch, I mean. I am also surprised that such an early sixties film was shot in color. I have always been fond of Tsuruta. Here,his character is very interesting. But this crime film is definitely not a pure Yakuza one, although you have gangsters. Actually, it looks like a western topic set in a modern Japanese crime feature atmosphere. The untouchable vet cop - or sheriff - and the good gangster - outlaw - seeking revenge for the murder of his wife. You'll also here a film noir influence, with night clubs and cabaret songs sequences. And a brutal shooting scene takes place in a western scenery bar. So, to summarize, a predictable movie, but not so much if you compare to many other Japanese films from this period.
2 Reviews
A gunfight.
DoorsofDylan3 February 2024
Warning: Spoilers
Getting home after the wonderful monthly reading group meeting,I decided to watch a title before bed. Having saved this for years after getting it from a DVD seller, I felt it was time to witness the last gunfight.
View on the film:
Blasting open the final battle with shards of light darting across the screen, director Kihachi Okamoto & cinematographer Kazuo Yamada load up a magnetic, Pop-Art atmosphere, bursting from crane shots spinning from gangster shoot-outs, to Jazz Musical numbers, the notes of which Okamoto continues playing, via first person tracking shots, refine walk & talk shots, and shot-gun loaded push-ins on the final bullet.
One of the eight times he would work with the lead actor, Okamoto also works closely with editor Yoshitami Kuroiwa (sadly not credited on IMDb) to slice open ultra-stylized French New Wave-inspired match-cuts, that are paired with a merry psychedelic mood, played on the striking framing Okamoto lands on from the cuts, against a sparkling candy coloured backdrop.
Slapping the face of any Yakuza who gets in his way,Toshiro Mifune gives a blazing performance as Fujioka, ignited by Mifune expressing Fujioka's frustrated state from being demoted, which explodes into a self-aware comedic side, unleashed by Mifune with a grin, whilst Fujioka tries to stop Maruyama (played with a fitting slickness by Koji Tsuruta) from sliding into the sights of fellow gangsters.
Treating Maruyama's attempt to get revenge for the murder of his girlfriend seriously, the screenplay by Shin'ichi Sekizawa and Haruhiko Oyabu brilliantly thread hard-edge Neo-Noir thrills powered from FuJioka and Maruyama finding themselves singled out in the police, and the underworld, with a free style Jazz peppering the (knowingly) witty dialogue amp up the ruthlessness of the gangsters, as Fujioka prepares for the last gunfight.
View on the film:
Blasting open the final battle with shards of light darting across the screen, director Kihachi Okamoto & cinematographer Kazuo Yamada load up a magnetic, Pop-Art atmosphere, bursting from crane shots spinning from gangster shoot-outs, to Jazz Musical numbers, the notes of which Okamoto continues playing, via first person tracking shots, refine walk & talk shots, and shot-gun loaded push-ins on the final bullet.
One of the eight times he would work with the lead actor, Okamoto also works closely with editor Yoshitami Kuroiwa (sadly not credited on IMDb) to slice open ultra-stylized French New Wave-inspired match-cuts, that are paired with a merry psychedelic mood, played on the striking framing Okamoto lands on from the cuts, against a sparkling candy coloured backdrop.
Slapping the face of any Yakuza who gets in his way,Toshiro Mifune gives a blazing performance as Fujioka, ignited by Mifune expressing Fujioka's frustrated state from being demoted, which explodes into a self-aware comedic side, unleashed by Mifune with a grin, whilst Fujioka tries to stop Maruyama (played with a fitting slickness by Koji Tsuruta) from sliding into the sights of fellow gangsters.
Treating Maruyama's attempt to get revenge for the murder of his girlfriend seriously, the screenplay by Shin'ichi Sekizawa and Haruhiko Oyabu brilliantly thread hard-edge Neo-Noir thrills powered from FuJioka and Maruyama finding themselves singled out in the police, and the underworld, with a free style Jazz peppering the (knowingly) witty dialogue amp up the ruthlessness of the gangsters, as Fujioka prepares for the last gunfight.
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