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Jitsuroku Andô Noboru kyôdô-den: Rekka (2002)

When his beloved boss is killed, a dangerous young gangster cuts a path of vengeance through the Japanese mafia.


Takashi Miike


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Credited cast:
Riki Takeuchi ... Kunisada
Ryôsuke Miki Ryôsuke Miki
Ken'ichi Endô Ken'ichi Endô
Mika Katsumura Mika Katsumura
Shin'ichi Chiba ... (as Sonny Chiba)
Yûya Uchida Yûya Uchida
Tetsurô Tanba ... Sanada
Rest of cast listed alphabetically:
Daijirô Harada Daijirô Harada
Renji Ishibashi
Shigeo Kobayashi Shigeo Kobayashi
Lily Lily ... Kunisada's Godmother
Kazuya Nakayama Kazuya Nakayama
Miho Nomoto
Masaru Shiga Masaru Shiga
Yûta Sone Yûta Sone


After Kunisada's Yakuza leader and father figure is brutally murdered, he and his best friend go on a two-man mission to avenge his death, killing other Yakuza leaders leading to a final confrontation by the old man's killers. Written by Jin

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Crime | Drama | Thriller


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Release Date:

21 September 2002 (Japan) See more »

Also Known As:

Violent Fire See more »

Company Credits

Production Co:

Toei Video Company See more »
Show more on IMDbPro »

Technical Specs



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Did You Know?


Takashi Miike cut this movie to the strains of the 1971 progressive rock album "Satori" by the Flower Traveling Band, which he learned of through costars Joe Yamanaka and Yûya Uchida, who were also the band's founding members. Miike found the album to be way ahead of its time and was delighted at how well and inconspicuously it cut into a movie made 30 years later. See more »


Referenced in Rewind This! (2013) See more »

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User Reviews

Miike as good as he's ever been in the yakuza genre
10 April 2009 | by chaos-rampantSee all my reviews

Seemingly modeled after DEAD OR ALIVE, starting off with a stylistical hodge podge of slow-mo gunfights and paranoid posturing and sizzling in the finale with a fair share of comic-book outrageousness, Rekka succeeds as a movie not for being ultraviolent or particularly graphic (it is neither by Miike standards - although still violent enough to raise a public outcry if it was the work of a mainstream American director), not because yakuza underlings get shot full of holes or Riki Takeuchi scowls like a bulldog as he shoots rocket launchers in the middle of crowded streets (DOA homage anyone?), not for the sound and fury, but for the moments in between. In that respect, Rekka is antithetical to DOA. Whereas DOA dragged through a drab and lifeless middle act to arrive at an exciting conclusion, Rekka sustains itself through moments of quietude and intimacy. In between the outbursts of violence, Miike gives us life as lived. Takeuchi's friend giving him advice on his hair dye. The glances between Takeuchi and his Korean girlfriend. The dingy eateries, night clubs and neon-lit streets - Miike prowling Fukasaku's stampin' grounds half a century after the patriarch of the yakuza film first pictured a different kind of postwar Japan.

In the end, Rekka works so well as a movie because Miike restrains the child within him eager to shock and impress and embraces the dramatist who observes the small moments of life. The plot is mostly forgettable, something about the son of a yakuza boss going on a spree to avenge the death of his father while a gangland conspiracy festers behind and a war between the different fractions is about to break out, and Takeuchi in the leading role scowls a little too much for my liking. But overall, this is as good a yakuza flick as I've seen from Miike, violent, funny, occasionally beautiful, imaginatively conceived but hastily executed (as with most Miike films), a thoroughbred Miike flick bearing all his trademarks, one aimed at both the heart and the gut. Not a masterpiece of any kind but a worthwhile movie.

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