This week’s review comes via the Masters of Cinema restoration of Bakumatsu taiyô-den (1957), alternately translated as A Sun-Tribe Myth from the Bakumatsu Era or Sun in the Last Days of the Shogunate. A slice-of-life comedy set in a Shinagawa brothel in the waning days of the Shogunate, just before the Meiji Restoration and the complete upheaval of Japan’s feudal society, the film follows Saheiji (Frankie Sakai, best known to western audiences for his turn in the 1980s Shogun series) as an incorrigible drifter who spins his unpayable debt to the Sagami Inn into a series of odd jobs and cons.
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?
Watching foreign language films as an English speaker, you’re necessarily limited by the availability of films that have been translated and released in your local region. That means the quality and availability of Japanese films with English language subtitles (ignoring for a moment the often very fine work of fansubbers) is not necessarily representative of the quality or breadth of Japanese cinema in general. This is even more true when looking back at older films; while a contemporary film might at least get a limited release in the West, older films by lesser known directors or even by well-respected auteurs can be difficult to find. Even Akira Kurosawa’s outsized shadow over Japanese cinema doesn’t mean it’s possible to find all his films on DVD, let alone restored on Blu-ray. That’s why I’m so thrilled to have outfits like Arrow Video, Masters of Cinema, and the Criterion Collection that put out restored copies of both classic and obscure films. Arrow, in particular, deserves commendation for being much broader in what it will publish; it’s not that every lesser-known work is a forgotten classic, but it would be a real shame to lose these titles forever.
All that is a long preamble to introducing Arrow Video’s “Nikkatsu Diamond Guys” series. With two volumes so far, that’s six lesser known works from some cult directors that might not otherwise see the light of day again. Let’s start with Seijun Suzuki’s Voice Without a Shadow (1958).
Between 1968 and 1969, Nikkatsu put out six films in the Outlaw Gangster series: VIP, VIP 2, Heartless, Goro the Assassin, Black Dagger, and in the opening months of 1969, Kill! A great deal of credit must go to Arrow for resurrecting this more-or-less forgotten series after a showing at an Italian film festival in the mid-2000s. I’ve lamented before that there’s very little English language information on the series, from sketchy IMDB entries to a barren Wikipedia page, even when investigated in Japanese. To be launched from almost complete obscurity to a premium Blu-ray collection loaded with extras from Japanese film scholars is impressive.
When I first started blogging about Japanese movies a couple of months ago, I began back in the 1950s with some of Akira Kurosawa’s best known work. Then I jumped ahead to the ‘60s and ‘70s for some cult classics. Now with Sion Sono’s Cold Fish (2010) we move into the modern era. I’m a big fan of other contemporary Japanese directors but Sono had completely passed me by, and this film was recommended to me as an accessible jumping on point for the work of someone called “the most subversive filmmaker working in Japanese cinema today.”
Each time I fire up another movie from the Outlaw series, I’m struck by the question of how I’m going to find something meaningful to comment on in a review that I haven’t already said about one of the previous films. Then Outlaw: Black Dagger (1968) did something unexpected: it commented on its recycling of the same actors over and over again.
Continuing a dive into Meiko Kaji’s past performances I decided to check out Delinquent Girl Boss (1970), the first movie in the Stray Cat Rock series. Initially intended as a star vehicle for the popular singer Akiko Wada, from the second film onwards it would be Kaji who scored top billing, and Wada soon disappeared from the cast. Going into the film, I expected it to be a case of Meiko Kaji outshining the intended star – after all, by this point I had already been impressed with her performance in Lady Snowblood and was starting to see why she’s held in such high regard by genre movie fans. I figured that maybe Wada wasn’t able to carry the movie the way Nikkatsu wanted, but I couldn’t have been more wrong.
Four films in and the Outlaw VIP series is beginning to creak. As I noted in reviews of previous instalments, Nikkatsu put out no less than six Outlaw movies starring Tetsuya Watari in 1968 and 1969. The fourth, Outlaw: Goro the Assassin (1968), sees the titular anti-hero Goro Fujikawa as a drifter without a yakuza family who gets involved in yet another feud involving local criminals and innocent civilians.
The inimitable Meiko Kaji’s first starring role, Teruo Ishii’s Blind Woman’s Curse (1970) is an aggressively strange yakuza movie with a touch of the supernatural. It’s so strange the Arrow Video release calls it ‘delerious’ multiple times on the cover, and for once, that doesn’t feel unfair – from the bold use of colour to the costuming to the off-kilter horror elements, the film is a phantasmagoric treat.