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Fighting Elegy (1966)

Kenka erejî (original title)
Not Rated | | Action, Comedy, Drama | 9 November 1966 (Japan)
During the 1930s, a teenager yearns for a Catholic girl, whose only desire is to reform his sinful tendencies. Hormones raging, the young man channels his unsatisfied lust into the only outlet available: savage, crazed violence.

Director:

Seijun Suzuki

Writers:

Kaneto Shindô, Takashi Suzuki (novel)
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Three schoolgirls are infatuated with a yakuza, Katsuta, of the Izu Clan. They meet another yakuza, `Diamond` Fuyu, of the rival Yoshida clan. As he gets a tattoo, two of the girls become ... See full summary »

Director: Seijun Suzuki
Stars: Akira Kobayashi, Chieko Matsubara, Daisaburô Hirata
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Cast

Credited cast:
Hideki Takahashi Hideki Takahashi ... Kiroku Nanbu
Junko Asano Junko Asano ... Michiko
Yûsuke Kawazu ... Suppon 'Turtle'
Chikako Miyagi Chikako Miyagi ... Yoshino Nanbu
Takeshi Katô Takeshi Katô
Isao Tamagawa Isao Tamagawa ... Principal
Jun Hamamura Jun Hamamura
Asao Sano Asao Sano
Rest of cast listed alphabetically:
Kensuke Akashi Kensuke Akashi
Iwae Arai Iwae Arai
Hiroyuki Atami Hiroyuki Atami ... (as Kôtô Atami)
Hiroshi Chiyoda Hiroshi Chiyoda
Hiroshi Chô Hiroshi Chô
Hideo Fukuhara Hideo Fukuhara
Yûzô Harumi Yûzô Harumi
Edit

Storyline

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 his emerging sexuality, focusing his energy on a gang he joins, breaking school rules, and getting into scuffles (he tells her, "Oh, Michiko, I don't masturbate, I fight"). He comes under the influence of a young tough nicknamed Terrapin, and together they lead fights against rival gangs. Gradually, Kiroku and Terrapin align themselves with the right-wing Kita Ikki, and Kiroku becomes a stand-in for the attitudes of Japanese youth who embraced the imperialism leading to World War II. Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Action | Comedy | Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

Japan

Language:

Japanese

Release Date:

9 November 1966 (Japan) See more »

Also Known As:

Fighting Elegy See more »

Filming Locations:

Okayama, Japan See more »

Company Credits

Production Co:

Nikkatsu See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Connections

Referenced in 100 Years of Japanese Cinema (1995) See more »

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User Reviews

 
After a second viewing...
22 May 2005 | by zetesSee all my reviews

The first time around, I was a little lost on this one. I didn't have the proper knowledge of its historical context. The Criterion liner notes are a big help. I just wish I had read them more recently. This is a satire of the militaristic attitude that eventually lead Japan into WWII. I remembered it being a comedy. It does have its comic moments, mostly involving Kiroku's uncontrollable erections, but it is rather serious in tone. Well, that's even a little weird. Suzuki is able to create a remarkable balance between the film's serious themes, its action sequences, as well as its comic touches. All the while, he creates a film of outstanding imagery, gorgeous cinematography, and artful editing. To think, Suzuki Seijun had probably no ability to choose which films he made. He was a bit lucky to land this one, though, as it was written by Kaneto Shindo, who had to be hot stuff after having already directed both The Island and Onibaba (though I wouldn't know how those films were received in Japan). This is one of only two Suzuki films that stand outside of the yakuza genre, so here (and in Story of a Prostitute) he was able to deal with deeper themes than normal. But anyway, Suzuki had little control over what material he was to direct, one way or another. I find his ability to create great art infinitely more impressive than any number of cinematic artists who had more or less complete control over their own work. It would be utterly wrong not to include Suzuki in the pantheon of the world's greatest film artists.


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