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Fighting Delinquents
InMovie Reviews

Fighting Delinquents (Review)

October 9, 2018By

Fighting Delinquents

aka くたばれ愚連隊 aka Kutabare Gurentai aka Go to Hell, Hoodlums!
Fighting Delinquents
1960
Screenplay by Iwao Yamazaki
Based on the novel by Kenzaburo Hara
Directed by Seijun Suzuki
Fighting Delinquents
Before Seijun Suzuki was making full-bore fever dreams, he was fully bored making B pictures, which lead to him beginning the creative flourishes that he became known for. While Fighting Delinquents is still early in his filmography, it is his first film in color and already shows hints of his use of color to set moods and scenes. Beyond his experiments, Fighting Delinquents isn’t really that special, outside of some goofy scenes and a conflict that spans generations, class, clans, modern Japan vs. old school Japan, and the meaning of family. That’s probably ascribing more than the story pulls off, but it is all there even if only parts of it are actually addressed.
Fighting Delinquents
The story is pretty straightforward, a lost heir is brought back into a clan on Awaji Island to help them stand against a crooked developer. He faces slack due to basically being raised as a street orphan in the city, the rougher personality clashing with the clan-based traditionalists he’s brought to, while his in grained sense of righteousness and justice puts him at odds with the developers. His mentor in the city who plucked him out of an orphanage to learn a trade (along with some other kids) is struck down in the opening scene by a drunken businessman, and we all know he’s going to end up being the businessman who is trying to take the clan’s land, so this isn’t even a spoiler. Sadao Matsudaira (Koji Wada) doesn’t take his crap then, when he tries to buy off the kids in mourning with a pittance offering. Nor does he take it lightly when he finds out who is responsible for his new family’s misery.
Fighting Delinquents

野獣の青春 Youth of the Beast
InGood, Movie Reviews

Youth of the Beast (Review)

August 31, 2015By

Youth of the Beast

aka 野獣の青春 aka Yaju no Seishun aka Wild Youth
野獣の青春 Youth of the Beast
1963
Written by Ichiro Ikeda and Tadaki Yamazaki
Based on the novel by Haruhiko Oyabu
Directed by Seijun Suzuki
野獣の青春 Youth of the Beast
A random stranger coming to town to pit two rival groups against each other is a classic story done well in a variety of genres, and with Youth of the Beast we get the story set in the swinging 1960s yakuza beat, with director Seijun Suzuki determined to make the visuals by themselves a grand spectacle. Joe Shishido and his cheeks take their usual place as a Suzuki lead, as Shishido’s Joji Mizuno waltzes in to lead the sides to their collective dooms.

so what makes Youth of the Beast worth watching like similar tales Yojimbo, Red Harvest, Django, A Fistful of Dollars, or even The Warrior and the Sorceress? Aside from the story being well told again, there is the great Seijun Suzuki visuals. Suzuki starts showing off his boredom with the nonstop yakuza films by tossing in a bunch of visual flair. He must have had fun, because his films only seemed to escalate from here. Youth of the Beast opens with a bleak black and white scene of solemn police investigating a double suicide, a cop and a woman, the only point of color (and life) being a red flower. This sharply contrasts with the vibrant color and exciting city life full of laughing girls, violent fights at the drop of a hat, and a jazzy soundtrack that immediately follows, as Joji Mizuno beats through some Nomoto yakuza thugs to rob their money and blow it at their club.
野獣の青春 Youth of the Beast
The energetic club is full of life, sin, and sound, while the Nomoto yakuza bosses who control it observe though soundproof one way mirrors, giving the mirth a surreal quality. Mizuno’s ease of dispatching the thugs gains the interest of the boss, and after a bit of interrogation and some display of weapons skills, he’s on their team. Then just as quickly, Mizuno is ratting everything out to the boss of the rival Sanko gang. As he’s out for revenge against the groups that ruined his life, breaking them apart piece by piece becomes a fun game.
野獣の青春 Youth of the Beast

探偵事務所２３ くたばれ悪党ども Detective Bureau 2-3: Go to Hell Bastards!
InMovie Reviews, Ugly

Detective Bureau 2-3: Go to Hell Bastards! (Review)

August 24, 2015By

Detective Bureau 2-3: Go to Hell Bastards!

aka 探偵事務所２３ くたばれ悪党ども aka Tantei Jimusho 23: Kutabare Akutodomo aka Detective Bureau 23: Down with the Wicked
探偵事務所２３ くたばれ悪党ども Detective Bureau 2-3: Go to Hell Bastards!
1963
Screenplay by Gan Yamazaki (as Iwao Yamazaki)
Based on the novel by Haruhiko Oyabu
Directed by Seijun Suzuki
探偵事務所２３ くたばれ悪党ども Detective Bureau 2-3: Go to Hell Bastards!
Detective Bureau 2-3 is a light-hearted action film, filled with plenty of comedy bits and trucks full of yakuza running around like video game mobs. This is before Seijun Suzuki went full fever dream, but he does have fun sending up the not very original undercover plot and having plenty of side action and goofs to fill the running time. At times it feels like a Keystone cops vs Keystone yakuza film, as trucks full of gang members armed with random blunt objects drive around in circles chasing after their prey, and dozens of cops run around and try to arrest them all. That’s just flavor for the Joe Shishido being a hero plot, but the trucks full of yakuza (and the musical numbers) are far more memorable than the central story.

The goofiness sort of works against the serious parts, we open with a Pepsi truck ambushing a weapons deal, Sakura and Otsuki gang members are massacred by the armed thugs riding the truck, and some poor Pepsi gets spilled when bottles are shot during the firefight. I guess those bottles won’t be getting the nickel refund! Was there a refund for glass bottles in Japan? The scene seems ridiculous, but the results are fatally real for everyone who is targeted. Only one witness survives, a guy named Manabe (Tamio Kawachi), and he’s suspected of being one of the attackers. The police have him stashed away in their precinct, and outside Sakura and Otsuki gang members wait in their cars, armed with rifles. Don’t worry, they all have the proper permits that say they are going hunting and are just waiting there before they go hunting, which is sort of hilarious. It would be even more hilarious if this wasn’t reality in various open carry states where morons carry AK-47s in public and scare people, and the cops can’t do anything.
探偵事務所２３ くたばれ悪党ども Detective Bureau 2-3: Go to Hell Bastards!
The police know Manabe is dead if the mob gets him, and they don’t have enough evidence to hold him forever. So Captain Kumagaya (Nobuo Kaneko) has an idea, he calls on noted Detective Hideo Tajima (Joe Shishido). But to keep everything off the books and confusing in case of leaks or bad ends, Detective Hideo Tajima is given a gun and a permit, all under the fake identity of Ichiro Tanaka. He uses his skills to drive Manabe away from the waiting goons and causes enough of a scene (thanks to a timely cement truck blocking the yakuza vehicles) that they escape, and is instantly recruited to join Manabe’s gang.
探偵事務所２３ くたばれ悪党ども Detective Bureau 2-3: Go to Hell Bastards!

Take Aim At The Police Van その護送車を狙
InBad, Movie Reviews

Take Aim at the Police Van (Review)

May 25, 2015By

Take Aim at the Police Van

aka その護送車を狙 aka Sono gososha o nerae: ‘Jusango taihisen’ yori
Take Aim At The Police Van その護送車を狙
1960
Screenplay by Shinichi Sekizawa
Based on a story by Kazou Shimada
Directed by Seijun Suzuki
Take Aim At The Police Van その護送車を狙
The Nikkatsu borderless action train continues, this time with a police guard looking to uncover the conspiracy to kill prisoners that he took the fall for. Take Aim at the Police Van gets attention as an early piece from Seijun Suzuki, before he got bored enough to try the widespread experimentalization of his flicks.

Michitaro Mizushima (Underworld Beauty) stars as Daijiro Tamon, the guard on a police prisoner transport van that is hit with gun fire and two prisoners are killed. Because someone must take the blame, Tamon is suspended for six months, which gives him plenty of time off to find out who shot at the van and why. Thus begins an investigation that will see Tamon sucked into the world of sex trafficking, hidden behind fronts of modeling agencies. This gives an excuse to have lots of attractive women running around, which gets even more glaring as most of the male characters range from seedy to extra seedy to so full of seeds they’re being sold at garden supply stores.
Take Aim At The Police Van その護送車を狙
Tamon distinguishes himself as a guard because he treats the prisoners fairly, this gives him enough of a reputation that he gets more doors opened to him when he starts hunting for clues. It also seems to say something about the Japanese prison system if just treating someone like a human being is commendable behavior. Not that we have problems like that in modern day America…

The prisoners that were killed don’t seem to be connected at all, but the more Tamon digs, the more he finds connections to something bigger. A missing sister to one of the prisoners who was working as a dancer is connected to another dancer that was watching the police van just before it was fired upon. The dancer, Tsunako Ando (Mari Shiraki), is dating another prisoner from the van, Goro Kashima (Shoichi Ozawa), who has a mysterious new job that he promises will earn a lot of money. And everyone seems connected to the Hamaju Talent Agency run by Yuko Hamashima (Misako Watanabe), who took over when her father Jube (Shinsuke Ashida) fell ill. But a rival firm has popped up and they are poaching each others’ talent.
Take Aim At The Police Van その護送車を狙

Underwolrd Beauty 暗黒街の美女
InBad, Movie Reviews

Underworld Beauty (Review)

April 13, 2015By

Underworld Beauty

aka 暗黒街の美女 aka Ankokugai no Bijo
Underwolrd Beauty 暗黒街の美女
1958
Written by Susumu Saji
Directed by Seijun Suzuki
Underwolrd Beauty 暗黒街の美女
One of Seijun Suzuki’s first films (and the first credited as his pseudonym Seijun Suzuki!), Underworld Beauty shows hints of the creative sparks that would soon gain Suzuki a cult following in Japan and the ire of his studio bosses. But it’s mostly a straightforward and entertaining noir, elevated by the cast, so don’t be too disappointed when it goes by the numbers. It seems you can’t talk about Suzuki without using the term “fever dream”, so I’ll just use it in this sentence complaining about the term in this film that has among the lowest amounts of fever dreamness.

A noir flick that gets enhanced by the black and white photography, Underworld Beauty features a jewel thief gang member named Miyamoto (Michitaro Mizushima) who has just gotten out of the joint. He retrieves a gun and stolen diamonds from a hiding spot in the sewer, and sets out finish the job. But prison has given him a change of perspective, and he wants to give the diamonds to the member of the gang who was injured during the job (and saved Miyamoto in the process), Mihara (Toru Abe). The third gang member, who is now a powerful boss named Chairman Oyane (Shinsuke Ashida), is not too happy with this sudden display of honor, but is smart enough to hide his disapproval.
Underwolrd Beauty 暗黒街の美女
Mihara is now working in a noodle stall and ostensibly taking care of his younger sister Akiko (Mari Shiraki), who is on a wild streak down a dark path. She earns money posing nude for the mannequin sculptures (done by her quasi-boyfriend Arita (Hiroshi Kondo)), and going out drinking is her hobby. The attempt to sell the diamonds to a fence ends when armed masked men burst in on the proceedings, and Mihara swallows the diamonds and leaps off the roof of a building, attracting attention. He stays alive long enough to explain to the police that he slipped, but then passes on. The criminals are concerned the diamonds will burn when he is cremated, and soon the various factions go all The Treasure of the Sierra Madre with diamond fever.
Underwolrd Beauty 暗黒街の美女