Seijun Suzuki was a prolific director. For Nikkatsu alone, he directed 40 pictures from his debut in the ‘50s to his dismissal after 1967’s Branded to Kill. Overlooked at the time, Youth of the Beast (1963) is now recognised as a turning point for his personal style. It is a film oversaturated with style, as if Suzuki approached every scene – every frame – with a playful, or perhaps unhinged, effort to make it interesting. He flips between black and white – with a single splash of colour – and full colour production. He pans the camera across a noisy cabaret bar, and abruptly cuts to a soundproof room, the volume dropping precipitously. A scene transition is smothered by a fan dancer. Conversations take place to a roiling backdrop of black and white movie footage from the office of a movie theatre. In one bonkers blink-and-you’ll miss it moment, star Jo Shishido (as Jo Mizuno) walks past a movie theatre covered in Nikkatsu bunting, complete with portraits of all the Nikkatsu stars – himself among them. All this contributes to a lively film that while perhaps not good is nevertheless great.
Director Yasuharu Hasebe and Nikkatsu star Joe Shishido return for another yakuza collaboration in Retaliation (1968). Shot in colour, a year after their monochrome work in Massacre Gun, their follow-up has a completely different tone, energy, and style. Shishido, speaking in an interview in his seventies, ruefully commented that all these movies were the same – two gangs fight, and they just had to find a way to make it interesting and different each time. He’s not wrong, but he does himself and his collaborators a disservice: Retaliation is a far superior film to either Massacre Gun or the contemporary Tetsuya Watari vehicle Outlaw VIP, a pitch-perfect take on the late ‘60s yakuza action movie format.
Get ready for a dose of late ‘60s yakuza action with Yasuharu Hasebe’s Massacre Gun (1967). Like a few of the other Japanese gangster movies I’ve reviewed here on Kino 893, it’s a title that Arrow have rescued from relative obscurity; it only got its Western debut at the Fantasia film festival in 2012. I’ve already written about Hasebe’s work on Stray Cat Rock: Delinquent Girl Boss, a surprisingly fun action movie with an unexpectedly anti-authoritarian vibe. It was through Massacre Gun that I discovered he had trained under (in)famous director Seijun Suzuki as an assistant director, and unlike Delinquent Girl Boss, that heritage is readily apparent here. From the way the film is staged, shot in monochrome, and features Suzuki collaborators Joe Shishido (Branded to Kill) and Hideaki Nitani (Voice Without a Shadow), Massacre Gun positively screams Seijun Suzuki. With that in mind, how does it hold up?
It didn’t take much research into Japanese film before Seijun Suzuki’s name came up. Specifically, it was an anecdote about his film Branded to Kill (1967): a film so far removed from his orders to create a B-movie about a hitman, to fill out the back half of a double bill, that he was promptly fired by the studio. The movie is now regarded as an avant-garde masterpiece, and I knew that I had to see it.