The Yakuza

One of the best West-meets-East films made. Great dialogues, very realistic fighting scenes, even though this film has been made so long ago, without any CGI tricks at all, yet the sword fights still look really great. But in my opinion the story, which may be shortly described with one of the sentences spoken by Harry Kilmer (Robert Mitchum) at the end of this film: "I have destroyed his past, and his future" - perhaps the story is what it makes this film so unique and timeless. Outstanding performance by Ken Takakura ("Ken Tanaka")! If you haven't seen it yet - get it now! And why do I say "get it" instead of "rent it"? Because unfortunately VHS version available in US is more than 10 minutes shorter, and European VHS versions have even more *vital to the plot* cuts! (More info here: http://www.us.imdb.com/title/tt0073918/alternateversions

or if it doesn't work try the link under "Alternate versions"). Please: don't waste your time on those! I swear these edited versions must have been edited either by some blind and deaf personae, or a child who didn't understood plot at all! Currently the only good, somewhat true to the original theatrical print (just slightly more than 3 minutes shorter), are the 2hr long versions available on the not-so-legal (and not too good quality-wise) VCDs released in Hong Kong and Asia.

I rated this film very high - and I am not any big sword-actioneers fan, but nor is this movie any kind of sword fighting flicks. Its just a great story that is told (or actually shown) very well, and it deserves full 10/10.

A neglected classic of 70s film-making, this is perhaps the most "Japanese" movie ever made by a non-Japanese. The story is rich and multi-layered, featuring not one but two sets of star-crossed lovers in a brilliant and melancholy examination of contrasting themes of memory, secrets and betrayal, friendship, honor and obligation. The script is both literate and intricate; the characters' motives are almost always obscure until another layer of deception is stripped away.

Only Robert Mitchum could have done justice to the role of Harry Kilmer, a retired detective returning to Japan for the first time in many years to rescue his old Army friend Tanner's daughter, who has been kidnapped by the Yakuza in a dispute over a debt Tanner owes them. When Kilmer arrives in Japan, he seeks out Ken, the brother of his ex-lover Eiko (played by the astoundingly lovely and talented Kishi Keiko). Ken is a lone wolf, an ex-Yakuza who now runs a martial arts school, and though there is obviously no love lost between the two, Kilmer knows Ken carries an obligation to him for rescuing Eiko and her infant daughter in the early days of the Occupation.

Kilmer is still bitter about the past, deeply wounded by his love for Eiko, who would not marry him even though she loves him deeply. This was the reason why he left Japan and never meant to return.

Now, with Ken's reluctant help, he rescues Tanner's daughter, but this only leads to an intensifying spiral of tragic consequences, because nothing is quite what it seems. Only when Kilmer begins to understand the truth of the situation is he able to act constructively.

Everyone in this film, from Brian Keith to Herb Edelman to Richard Jordan (in one of his first starring roles) turns in a first-rate performance. James Shigeta and Christina Kobuko also deserve honorable mention. But it is Mitchum and Takakura Ken who make this movie.

This is not an action film in the sense of later -- and far inferior -- efforts like "The Challenge" and "Black Rain", though there are scenes of intense and graphic violence. Nor does it have a happy ending, although some of the characters do ultimately find redemption and a hope of reconciliation.

"The Yakuza" is a work that deserves a much larger audience, one which will totally engage a thoughtful viewer with its universal themes worked out against the background of a very different culture, with its own mindset and traditions. I give it my highest recommendation.

Harry Kilmer is a retired detective whiling away his days at the beach in Malibu. An old friend named George Tanner contacts him with a problem: his daughter has been kidnapped by the Yakuza, with whom Tanner was conducting business. Harry is dispatched to Tokyo to get her back, and while there rekindles his relationship with Eiko, a woman he once loved. For help with his mission, Harry calls upon Eiko's estranged brother Ken, who has an obligation to him- or giri- for coming to Eiko's aid years before. As they battle the Yakuza, Harry comes to realize that Ken and Eiko's relationship is more complicated than he realized, and that he has his own giri he may never be able to repay.

Directed by Sydney Pollack, 'The Yakuza' is a stylish crime drama that entertains, though suffers from tonal and pacing issues galore. Originally written by Paul Schrader, it was intended as a vehicle for Lee Marvin under the direction of Robert Aldrich; though that film was never made. Instead, Pollock was hired to direct and Schrader's original script was considerably altered by Robert Towne. The end result is a film of contrasting styles, attempting- largely in vain- to balance Schrader's hard-edged original material with the romanticism of Pollock and Towne's approach.

Perhaps with Schrader's script in hand, a director like Aldrich- well versed in the art of making action pictures- could have captured the violent sequences in 'The Yakuza' with style and verve. With Towne's, Pollock doesn't, seeming more comfortable with dialogue heavy scenes and wistful set-pieces. More often than not, these feel ponderous and overly-expositional, with too much talking and not enough movement. In contrast, the way Pollock captures the violence seems rushed and cursory.

While we do empathize with the central three characters- Harry, Eiko and Ken- the rest are ill-defined, blurry caricatures one can't help but forget. The film does contain powerful moments, and arrives at a sensational conclusion, but the journey there is one fraught with issues. It is a shame the narrative and Pollock's approach to it is so muddled and uncertain, as there are brilliant sequences in 'The Yakuza'- and it's a triumph in many other respects.

Kôzô Okazaki's cinematography, for one, is exceptional. He shoots the thoroughfares of Tokyo strikingly, in a manner which heightens the city's neon-streaked coldness. Watching Harry somberly stalk the city's side-streets or graveyards is arresting, while the intricate lighting in interior shots captures one's attention and keeps it held. Dave Grusin's jazzy score is also worth mentioning, as it lends to proceedings an ambience of film-noir that feels most appropriate and atmospheric.

'The Yakuza' also boasts impressive performances from the cast that one would be remiss not to mention. Robert Mitchum stars as Harry, delivering one of the finest performances from the latter half of his career. Arguably one of the most naturalistic actors of all time, he never resorted to theatrics or seemed anything less than fully authentic. His performance here as Harry is thoughtful, powerfully understated and proof that less really does mean more when it comes to acting. How the Academy never recognized his greatness is frankly scandalous; as whether in 'The Yakuza' or anything else, Mitchum was always perfect.

His co-star Ken Takakura subscribes to the same playbook as he does, delivering a restrained, masterful performance of great subtlety and style. Starring as Ken, Takakura has a magnetic screen presence and an enigmatic gravitas; ensuring you'll be staring his way anytime he's on screen. Richard Jordan also does strong work as an associate of Harry's named Dusty, and Keiko Kishi is utterly beguiling as Eiko; sharing with Mitchum a very warm, seemingly authentic chemistry.

Sydney Pollock's 'The Yakuza' is an entertaining film, though it may have been better in the hands of a different director. While it has tonal issues and the dialogue is a little stilted in places, the cinematography from Kôzô Okazaki is captivating, and Dave Grusin's score is atmospheric. The performances are routinely brilliant too, with Mitchum and Ken Takakura doing especially fine work. Taking all that into account, while the saga of blood, love and honor that is 'The Yakuza' is well worth seeing; it is not a masterpiece.

Not only is this a good 70's gangster/action flick, it is also one of the few movies about Japan ever produced in the States that does not make too many mistakes about Japanese culture.

Ken Takakura puts in a great performance which is no surprise since he first became famous in Japan for acting in yakuza (gangster) movies.

Anyone who has ever tried to understand or explain the concept of "giri" should see this movie!

This is just so good I can't believe that not only had I not seen it but not even heard of it. Screenplay by Paul Schrader (and his brother) just before he did Taxi Driver should have drawn attention but then maybe the Scorsese film took all the attention. Sydney Pollack's direction is assured and he gets great performances from everyone, but I reckon it is the script thats the thing. Moreover it is the only US film I have ever seen that seems to have the vaguest notion of Japan and it culture. So much of this rings true that it tingles with the excitement. The 70s streets of Tokyo and Kyoto are something to behold and the believable interaction between the main characters quite fabulous. There is bloody action here but for a film with such a title nothing like as much as expected, and all the better for it. Love, memory, betrayal, loyalty and repayment of debts both financial and emotional are all here - oh and Robert Mitchum and ken Takakura are great.