aka みな殺しの拳銃 aka Minagoroshi no Kenjû aka Slaughter Gun aka Ruthless Gangster 1967 Written by Yasuharu Hasebe (as Takashi Fujii) and Ryûzô Nakanishi
Directed by Yasuharu Hasebe
A long time ago (2017!) I saw Massacre Gun at the Roxie, but despite it being some good stuff, I was far too busy to get a proper writeup completed. This is TarsTarkas.NET, after all, where the reviews are all made up and the deadlines don’t matter, so we thought we’d just watch it again and give a nice, nuanced review from multiple viewings. So thus bursts the review of Massacre Gun!
At this point the Nikkatsu borderless action films are becoming very well represented on TarsTarkas.NET, thanks in part to a large swatch of them getting wonderful restored and subtitled releases in the West, thus making watches easy. These films have a tone that make them very good watches even though too many at once can lead to bleak feelings due to the tone. Despite that, the films are largely high quality stories crafted with care, and have a clear evolution over time before the entire genre was just dropped in favor of the Roman Pornos. From the early youth/troubled youth films to the increasingly violent and dreary action pieces, the entire genre (and their inspirations and imitators) just create so many things to talk about. There is even the side journey with our slow but study dive through Seijun Suzuki’s filmography. The director here is Yasuharu Hasebe (the amazeballs Black Tight Killers!) and he might be one of the few Nikkatsu directors to give Suzuki a run for his money in regards to interesting shots and techniques (while still showing it straight enough to not anger the bosses enough to get fired!)
By now this is 1967, the genre is in full swing, Jo Shishido is owning the screen, and Yasuharu Hasebe is about to drop yet another required viewing film onto an eager audience with Massacre Gun! Three brothers get pushed too far by their Yakuza employers and decided to strike out on their own and strike back against the disrespect, but we all know things aren’t going to end happily for most of them. Ken Sanders crooning gives this film an amazing vibe (backed up by the ever-present boarderless action jazz, which seems to be extra juiced in this film. There are album collections of tracks from these films which are great to study or write movie articles too, trust me!) We also get a lot of gangsters feeling sorry for themselves sitting around smoking while he croons. If that doesn’t hammer the tragic life of the yakuza gangster into your brain then maybe Teletubbies is more your speed, leave the Nikkatsu flicks to us, thanks. Continue reading →
aka 俺にさわると危ないぜ aka Ore ni Sawaru to Abunaize aka If You Touch Me Danger 1966 Screenplay by Ryuzo Nakanishi and Michio Tsuzuki
Based on the novel by Michio Tsuzuki
Directed by Yasuharu Hasebe Black Tight Killers is an essential film. In a just universe, it would be a well-known classic instead of a fairly known cult movie. It assaults the senses with a full force blast of 1960s gogo excess from the opening credits, and just puts the pedal to the metal. The awesomeness is of such force that even viewers who shy away from the 1950s and 60s Japanese action cinema will be pulled along. The film is a visual feast, with nearly every scene so full of glorified excess of ocular excitement that your eyes will be in danger of going all ADHD on you. Black Tight Killers starts with Akira Kobayashi as dashing war photographer Daisuke Honda doing daring deeds during a pitched battle that wouldn’t look out of place in any cheap 1960s Italian war movie that was also shot on a small set. But soon he’s flying back to Japan and we’re blasted by dancing gogo girls in black tights stomping through the opening credits. The film features a gang of fighting femmes (the titular Black Tight Killers) who use their ninja skills on a quest to recover stolen treasure before the villains can. They cross paths with Daisuke Honda, whose recent girlfriend Yuriko Sawanouchi (Chieko Matsubara) is kidnapped due to her family connections to the looted treasure. While the ninja ladies are at first adversarial with Honda and were attempting to kill Yuriko, eventually they become a team to go after the real villains. Honda’s lady killer charms combined with the actual ladies who are killers using ninja seduction skills (the Octopus Pot move traps you know which part of Honda’s body inside you know where of the ninja lass!) means we have plenty of sex to go with violence and music.
Of particular note is a technicolor jazz dream sequence of Daisuke Honda’s, as we follow dream Yuriko as she’s chased through long hallways by stalking menaces while a different-hued black tight killer lady prances in every direction. She frantically bursts through the paper walls of different colored rooms, the ladies chasing her all the while. It’s a literal technicolor fever dream! In the awake world, whenever characters are driving around in vehicles, the projected background is rendered in primary colors, recalling the dream sequence but also forcing focus on the characters in the car just through blasting out any distractions. Continue reading →