Some Thoughts On: Hinamatsuri (2018)

Here’s an anime I didn’t intend to watch, but I did read a blog post by Karandi who did poll on her blog. A post I forgot to like earlier since I was on my phone, and typically not logged in XD. Moving on, on that post she shared the results of a poll asking her readers to vote on the best anime in the Spring season. In that poll, Hinamatsuri won the vote for best Spring anime, and that brought it to my attention. Not being one to solely be persuaded by public opinion alone I went on Discord to check if anyone I knew has seen it. Luckily for me, someone by the username of Robtaku has seen it, and he enjoyed it. How credible was his input to me you might ask? Well to straw man my point, he likes Hand Shakers (2017), and I don’t so there’s that. I started Hinamatsuri around the time I finished Devils Line, and that anime just sucked the soul out of me. I was in need of a comedy, even a bad one to lift my mood after feeling drained by that. Much to my surprise I did not end up disliking this anime. A  pleasant surprise that I found something I agree with the general census on.

This whole scene is comedy gold

Hinamatsuri starts in a odd place with the first episode providing a glimpse three years into the future. On one hand the opening minutes of episode 1 will get viewers attention with a nicely animated action sequence, and keep them watching. On the other hand, it’s also a misleading draw since the anime only dedicates half of an episode to that event, and it the rest of the series is nothing like that. Trying to give Hinamatsuri a synopsis would be pretty pointless, but I’m doing it either way. Initially you think it will be about a Yakuza by the name Yoshifumi taking care of a stoic blue hair girl with telekinetic powers named Hina, but eventually jumps around characters a lot becoming more of a slice of life comedy. In your average anime series I would likely complain about the lack of an overarching story, but here I’ll give it a free past. Unlike the common slice of life anime I see, Hinamatsuri actually knows how to handle drama.

This is strange for me to compliment since I’m used to complaining about how poorly handle comedy, and drama is handled in a anime series. Something like March Comes In Like A Lion I complained about how the tonal shifts are jarring being very serious one moment, and the next being overly silly. Hinamatsuri on the other hand has a simple fix to this through Anzu. A character who carries the most dramatic weight in the series. Struggling with living on her own being stuck in the past she sees how harsh living the homeless life can be at her young age in Japan. By dedicating an entire character to explore this drama it prevents the anime from creating constant tonal shifts. So whenever it wants comedy it’ll focus on Yoshifumi taking care of Hina, and if it wants drama it’ll shifts to Anzu. By doing this, the audience will know what to expect until that arc eventually gets finished. My only complain to how the drama is done is the anime wants you to be in tears, but given how well it’s done if someone actually cries during Anzu portion of the anime I won’t be scratching my head like I would with other animes doing the same thing.

This happens all the time when I drink

On the comedy side Hinamatsuri offers a host of hilarious supporting characters. All of whom overreact, or underreact to a strange event. The character who best excels at this is Mishima, a middle schooler who gets pulled into being a bartender. This puts her in a number of odd situation where she constantly interacts with stupid adults. One of them being her teacher who denies believing Mishima is his student because of her abilities to make a good drink. It’s about as silly as it sound, but works better in context. I ain’t going to do a breakdown of the comedy since it offers a lot of good jokes, but I will add aside from being funny it uses comedy to touch on some serious issues quite nicely. I personally just see Hinamatsuri as just a good anime comedy, but there is a solid foundation for the average viewer to probably take more away from it than I did.

The production is apparently handled by Studio feel. which I find shocking because the only other anime I’ve seen from them is Dagashi Kashi season 1 which I disliked a lot. It felt so pointless, and none of the characters learned anything. So it’s further shocking for me to accept they made this because I laughed, thought the drama was well handle, and I felt satisfied with how it turned out. On the animation side it was good, even if there’s no flashy action. Everything is nicely detailed, and it’s very colorful as well. What the animation did greatly was capturing the character exaggerated expressions. Studio feel. spared  no expense on that front, and especially the lighting which allows some proper shading. Also, it’s pretty good doing visual analogy for a good laugh. In particular, I like the visual where the words of Hina word kept changing in episodes. Good on you studio feel.

And good on them for giving us this horrific reaction XD

One minor thing I did appreciate is depending on what episode you were watching the opening, and ending credits will change. For instance, after episode 7, Utako (a bartender) doesn’t appear next to Yoshifumi in the end of the opening credits. It’s something I appreciated, even if it doesn’t affect anything at all. In terms of sound nothing about it stood out to me, especially the ending, and opening theme which I didn’t care for that much. I saw this with the English dub, and it was pretty good. All the voice actor had good chemistry with each other, and nice comedic timing.

If anyone in the English cast deserves my highest praise, performance wise that is, it would be Anzu voiced by Amanda Lee! What! When I discovered this my head exploded because I’ve been listening to her covers of anime music for years (side note: I also like her original stuff a lot), and not once did it register to me that it could possibly be her. So, yes, because of this she obviously deserves my highest praise. She nicely portrays Anzu in all her charm, and sorrow. Doing exceptionally well in the dramatic sequences, and her outstanding moment is easily episode delivering a very emotional performance. This anime full is packed with pleasant surprises. With that, I should I conclude this before I accidently spoil anything while gushing about it.

If I were to rate Hinamatsuri I would give it an 8 out 10 easily. It was a lots fun, and knew how to handle drama well. Go watch it if you haven’t, especially you finished Devils Line, and feel drained by it like I did.

Cinema-Maniac: Massacre Gun (1967)

Massacre Gun follows Kuroda (Jô Shishido) a mob hitman who turns on his employers after being forced to execute his lover. Telling a lightweight story with little to grasp onto. This film is barebones in covering the essentials for competent storytelling; partial characterization, half baked exploration into the themes of brotherhood & the Yakuza code of honor, and proper escalation of story events. At it core it should be a crime thriller, but moves at a leisurely pace it becomes soothing to watch. Unfortunately, it is also attempting to tell a story about Kuroda friendship falling apart because of the ways of the Yakuza. Kuroda, and his best friend both being bound to violently resolve their war through their violent encounters, even if it against their personal intentions. This lays the groundwork for possible in depth characters who remain about the same when they are introduced sadly. Resulting in a storyline that should carry weight to it, but does not due to how little it does to create sympathy for anyone involve. A shame too since the film provide plentiful instances where expansion on character are hinted at. They are simple characters, and remain that way just like the film’s story.

Getting cool shots even if in context it doesn’t make sense.

Familiarity is also an issue with the film, but only if you’re familiar with Yakuza movies. If you’re not, than the film is a good introduction into Nikkatsu’s Yakuza films. Covering the familiar of loyalty, blood brotherhood, unrequited love, not following the same wrong path, loosing oneself, and yep that’s about it. Character archetypes are here make the cast of characters; from the age old veteran wanting who is bound to his boss, the best friend in a rival gang beholden to loyalty over friendship, the partner thinking of calling it quits, and the upcoming youngest member desiring his chance to join the Yakuza. Those familiar with Nikkatsu’s Yakuza films will know what to expect, and Massacre Gun is more than comfortable with itself on that front. For newcomers into this kind of films it’ll serve a good introduction to get familiarize with the basics of Yakuza films in a more grounded state.

The only aspect of the writing that shines is the character of Saburo (Jiro Okazaki). He’s given a history, a dream, and conflict that gets expanded on as the film progresses. It initially starts a story about him being unable to become a boxer, and grows into Saburo finding himself again in life. Unlike the main storyline, Saburo has more to him that the film is more than happy to flesh out leading to him being the most engaging part of the movie. Unfortunately, his part is superfluous in the overarching narrative with his biggest contribution in the movie is having to be rescued twice in order to escalate events. Being a missed opportunity to add something more to the simplistic, and lightweight film.

Another cool shot, but why the burning ships in the background I got no clue.

One aspect that is unquestionable about the film is that it has class to it. Without question, this has to be the classiest presented Yakuza movie I’ve seen unrivaled by any other. Helmed by director Yasuharu Hasebe he surprisingly shows no sign of inexperience despite it being his second directorial effort in his career. Giving the film the qualities of a cinematic experience that enhances what could have a basic film. Through his eye for visuals he is able to create a beautiful looking movie from the first frame. Do except the questionable visuals choices at times; like one where there are burning ships in the background for no reason, but thankfully odd visuals touches like that are sparse in the film.

What isn’t sparse is his careful attention to framing. Several sequences in the movie he’s able to perfectly show turmoil without dialogue. An example of this is during a wide shot scene when Jiro Okazaki is depressed, sitting down at a bar looking down at his bandage hand, and hearing jazz music being played. The elegant usage of lighting in crisp black and white, and atmosphere further empathizes the mood meant to be convey in this scene. Subtle touches like these to convey characters make the sillier moments, like a bomb being strapped to a dead body, be easily overlooked. Another highlight of the film is a sequence where a major character seemingly escapes a hit, and tricking the viewer that he has made a getaway only to realize that he’s trapped up against a wall surrounded by men with gun. Yes, it takes an absurd amounts of bullets before the man is down, but it’s a great sequence that gives cinematic quality to simplistic writing.

When the film numerous actors aren’t wearing suits to class things up the soundtrack composed of Jazz keep things classy. With numerous musical interludes, and (somewhat) erotic dancing splice during the movie makes it come across as elegant. From a technical standpoint, the music used shouldn’t work, but it does. On the violence side there’s not much of it. Same with the body count not being close what a person would consider a massacre, but the action sequences are fine being carried by smart direction. Except for one that takes place on a ship; the sequence is finely crafted, and confined until the two major characters escape from a trap. The characters are corner on all direction, and there seems no way out. This action sequence ends when one of the two major characters shoots the light, and then cuts to the two running out of the ship. Due to how it was framed it’s impossible to tell how exactly they escape a constant barrage of gunfire when surrounded. Aside from this slip up, the old fashion action sequences are pretty well done.

No one here likes the what the future holds for Nikkatsu studio

The only actor in the film who I felt shine was Jiro Okazaki. It helps that he has the most fleshed out characters, but even without that his screen presence is simply attention grabbing without being commanding. He has all the charm to pull off his character with ease, and the dramatic chops to subtly act out the inner separation of his character. He’s a delight to see on screen, even if his supporting role ensures he’s not given the center attention.

Jo Shishido stars in the film, and delivers a solid performance. His botox cheeks gives him a recognizable look, but in terms of acting here he isn’t allowed much range. Always being bound to restraint any emotion to just being collected. Tatsuya Fiji is a bit more loosed, but has the same problem with the material being too limited. Also, a moment in the film has him slapping a woman several, and having sex with her which the woman complies with. It was a different era, but luckily the direction prevents that moment from being worse than it could have been.

Got to say it again, film is beautifully shot

Hideaki Nitani is the second standout in the film playing Jo Shishido friend in a rival gang. Emoting his characters complex emotions with ease. Takashi Kanda portrayal as a Yakuza boss is simple; just come off as evil, and over controlling which he does. Aside from that, the other remaining in the cast from Yoko Yamamoto, Tamaki Sawa, and the rest of the actress simply act concerned over their men. They don’t get much to do either, much like Ken Sanders who plays the jazz player Chico, but make the most with what they can.

Massacre Gun is an above average movie whose only stand out is Jiro Okazaki performance, and its classy direction from Yasuharu Hasebe elevating what could have been a mediocre Yakuza movie. It’s a evident case of style over substance that for those familiar with Yakuza movies make it worth looking into a little. While for newcomers it serves as a good introduction into Yakuza films having all the traits other Yakuza movie past, and future would retain. It might not offer anything unique besides it’s style, but it still makes for a solid viewing experience.

Rating: 6/10

Cinema-Maniac: Kamikaze Taxi (1995)

Today’s film is three things; an arthouse film, a leisurely pace film at nearly three hours long, and very mindful of the heavy theme it touches on. On paper, arthouse is typically something I ignore as some will typically sacrifice narrative worth for alluring visuals. Depending on the film the abstract accompany by pleasant visuals can add to something, and other times just feel like a complete waste of time. The lack of any middle ground in terms of quality, from my experience, prevents me from checking more arthouse films. However, Kamikaze Taxi is an exception in both areas; it’s exactly what I expected out of a arthouse film, but exceeded everything I thought it could possibly be. I am willing to go as far as to say this film might just be an underappreciated classic.

“No need to fear. We’re just going to kill you.”

KamiKaze Taxi follows a revenge-seeking man, and his foolish friends plan to rob a yakuza gang. Despite that simple synopsis, the film covers much broader subjects beside vengeance. It touches on violence in many perspective from the conceived honorable sacrifice of a Kamikaze to the senseless nature of war. You might even be surprise for a film that has plenty to say about violence there’s hardly any of it to be found within the actual film. Instead, you’re treated to a cast of fleshed out characters with some level of depths to them. Tackling heavier subject matters, especially for the Japanese audience, on a nuance level.

The film begins in a pseudo-documentary style, commenting on the presence of Japanese with foreign upbringing, and how they are not looked upon as “true Japanese”. Further illustrating this is the first sequence where young Yakuza Tatsuo Minami (Kazuya Takahashi) is introduced to Senator Domon whom comments he hopes Tatsuo is a full blooded Japanese from his Korean sounding name. It’s not just a one off comment that makes up Senator Domon character, but several scenes throughout the film where he freely share his racist remarks, even on live television. Later receiving characterization on his likes for Jazz music, and perceiving himself as a true Kamikaze with his boastful nationalistic pride. All the major characters in the film receive this level of characterization.

Slow moving as it might be in its pacing it uses that to have secondary character to provide humanizing moments amidst the aftermath of a violent sequence. One such example of this occurred early on in the movie; Tatsuo job is to set up Senator Domon with women to sleep with, and after a bad night (which occurs offscreen) he has a lengthy conversation with the women involved. Being unable to view them the same way his Yakuza brothers do, and it’s many moments like these that elevate Kamikaze Taxi into something special. What short bursts of violence it contains become layer with meaning for the participants, and for the viewer weaves an engaging narrative sharing a intimate understanding on it complex issues.

“Bite on this while I kill you gently”

Kamikaze Taxi starts with Tatsuo Minami story of desiring vengeance is just the beginning of the movie before transitioning into the meditative phase of a road movie an hour in. It is right here where an already good movie with a great foundation becomes even better. On the other corner we have the other major character of Kantake (Koji Yakusho). The unlikely bond, and connection Tatsuo, and Kantake form elevates the preceding events of simple ideas, but broad introductions, and give them depth here. Themes such as what is truly consider Japanese, the long term effects of violence on a person, what defines a Kamikaze or Yakuza, moving from past prejudice, and other subjects fully develop.

One of Kamikaze Taxi noteworthy scene requires the characters to reflect on their life choices through a seminar of sort. Encompassing the comedic, and the dark nature of its characters into a single sequence. Scenes like these are a dime of dozen in Kamikaze Taxi allowing even minor characters to influence the larger narrative in the end.

Not bound to just tackling contemporary issues specifically pertaining to Japanese culture it also delves into more universal themes. The already mention viewpoints of violence, pride, love, freedom, and ultimately forgiveness. Much like its characters, the story leisurely makes several stop during its journey. Either to build the bond between its lead through something simple like navigating a map of Japan, or taking a breather from the harrowing situation with a drink. Characters aren’t afraid to discuss the harsher aspects of life the closer they get to their journey’s destination, even contemplating simply escaping from their dangerous endeavors. Through their many exchanges, understanding these characters along with developing the fictional backdrop tackling real issues become easier to grasp.

What better way to end a fun party than telling everyone about my tragic past.

The journey this film will take you on isn’t all smooth. For an ambitious film with a desire to tackle a number of themes it is riddle with some issues. One of these being the complete disappearance of the pseudo-documentary framing device from the narrative. It’s disappearance isn’t harmful to the movie since it setups all the working pieces that later pay off once they get fleshed out. What is potentially harmful to the viewing experience is the circling around of established information. Kantake in the movie expresses his issues finding work in a country because of his ethnicity, but the documentary portion of the movie already set that up in its opening minutes. In context, Kantake explaining his situation makes sense, but within the narrative it’s just reiterating information with nothing adding on to it. They also eventually disappear from the movie making it have narrative inconsistency in its execution.

Perhaps the biggest hurdle for viewer in this movie is the way it ponders. There’s a lengthy sequence at some hotel where the characters are enjoying downtime from their journey. What occurs is a series of goofy antics before getting into the characters reflecting on their choices that led them to this moments. These halts in the movie can take several minutes before offering anything that could progress the story. Naturally being all over the place when it shifts gear into being a meditative road movie. These issues might detract from the experience for some viewers, and to a greater extent hurt the viewing experience since the film delve into many subjects.

By the end of the film, it’s obvious by how much I gushed about the writing I simply was in awe from such a thought provoking piece of cinema. Rarely does a film for me ever reaches the narrative heights Kamikaze Taxi accomplishes in virtually all aspects. I was never bored watching Kamikaze Taxi thanks to its engaging characters whom I grew to like a lot on their journey. Spending so much time leisurely developing, and fleshing out everything it tackle created an rich experience not offered to me in many films. Its shortcomings aren’t things I’ll excuse, but they are weaknesses I can forgive for everything I feel it excels in creating.

In its natural habitat, the third wheel.

Director Masato Harada helms the film with ease. Visually arresting with it neon nights city, flute center score, and a dreamlike mood that make it an absorbing viewing. The Peruvian flute like music in particular grew on me over time giving the film a unique soundtrack that I can’t recall other Yakuza movie ever having. With the exception of a few scenes requiring over acting, Masato Harada is able to keep the film realism in tact. Providing the film a grounded touch that it needed, especially during the more solemn scenes when characters are opening up about themselves. Rarely ever using music to influence the audience what they should think during an important character building scene. He also isn’t afraid to inject a bit of humor to prevent the film from becoming overly moody. One sequence where his direction is a bit of a misfired is when Koji Yakusho, and Taketoshi Naito (Senator Domon) only scene together involves an over the top outside inference in their encounter. It’s pretty odd witnessing something over the top happen in the movie when everything else is somewhat grounded.

Standout actor here is obviously Koji Yakusho as Kantake who provides the film most grounded performance. Carefully able to hide the inner turmoil of his character without making him come across as emotionless towards those around him. Without question, his shining moment of acting is when during an long take he reveals his tragic past to the other actors. It’s a scene that is perfectly solemn, and delivered with the right amount of emotion. Overshadowing his co-star Kazuya Takahashi who plays Tatsuo. Takashi isn’t bad in his role either; displaying his character insecurity to fully be a Yakuza with such a sensitive side to him. As the film progresses, Kazuya portrayal of Tatsuo slowly matures into a deep thinking young man by the end. Embodying the puzzling mindset of Tatsuo perfectly. When together, Koji Yakusho, and Kazuya Takahashi are simply wonderful together.

Those wounds are nothing compare to what I went through in Battle Royale.

Taketoshi Naito who plays the racist, and at times misogynistic Senator Domon does a great job in his performance. By choosing to not over act his character feels more humanize, and detestable for it. Benefiting the film by giving it a more realistic depiction of this film’s version of a villain without actually being one. Mickey Curtis who makes sporadic appearances in the film is a treat to watch. His laid back attitude as a Yakuza underling rightfully gets across his character experience. When needed too, he definitely display his tougher side. Finally, Reiko Kataoka who just like Koji Yakusho later becomes a mainstain in the story. She also deliver a great performance on the level of Koji Yakusho, and Kazuya Takahashi. These onscreen chemistry is simply perfect able to make you believe they have created a great bond together despite the small amount of time they spent together.

Kamikaze Taxi is my kind of art film; slow moving, but visually alluring, loosely meditative narrative, and handling of several subject matter gracefully. It’s a film that was a more than pleasant discovery during my viewing, and giving me far more than I could have ever expected from it. I expected, from the trailer, a lengthy Yakuza epic with violence throughout, but instead what I got is a far more ambition, humanizing film that not provides frank criticism on Japan’s culture, but also a film that never bored me, and serves as a personal reminder the profound power arthouse cinema can have.

Rating: 10/10

Cinema-Maniac: Outlaw: Gangster VIP (1968) Crime Movie Review

Crime cinema is one of the most interesting genres for me, but typically also one I spend the least amount of time exploring in my area of interests. Quality films in the the crime genre are abundant so that’s not a issue for me. What is are usually the kind of stories that can be told in this genre, and how typically I don’t find myself caring much about these crime stories leading characters. I find the amount of memorable character, for me, even harder to find as after a single film I never seen them again. However, as I venture more in depth into foreign (outside of the US for me) cinema I learn there take on the subject I find a bit more interesting. Hence, my venture into the first of six (one of five films to come out in 1968) in the Outlaw: Gangster VIP franchise.

Hey, did you know 2 out 3 Japanese men don’t know how to wear the sleeves in their clothing. Crazy right?

Outlaw: Gangster VIP follows Yakuza Goro Fujikawa (played by Tetsuya Watari) becomes disenchanted with his lifestyle after serving three years in prison, and seeing a changed Japan. Starting off strong, Outlaw: Gangster VIP shows a glimpse of Goro rough life as a child during the opening credit sequence, and the film never loosen its dramatic grip on you. Establishing early on in the film characters history, motivation, and displaying Goro contrast of his rough exterior compare to his inner kindness. At 90 minutes, Outlaw: Gangster VIP is very bold, and ambition in narrative storytelling is quite a successful accomplishment. Nearly everything in the film from a writing perspective works better than the film probably intend it too.

For example, throughout the film snippets of certain characters are given to the viewers at different points in the story. These snippets are later expanded on as the film progresses into discussing it themes on violence, loyalty, and moving forward through a slow pace. In particular, the character Takeo Tsujikawa (played by Mitsuo Hamada) embodies all these themes greatly. Serving somewhat as a surrogate of the new youth idolizing the life of the Yakuza while Goro Fujikawa is the wise old veteran trying to set him on the right path. Several scenes in the film illustrate why Goro wants to set Takeo on the right path, and as well facing the consequences that comes from his misguided view on the Yakuza lifestyle. It’s a classic dynamic you’ve seen in many films, and here it works all the same.

Continuing on, another aspect of the film that greatly serves it narrative are the characters, and the interactions they have with one another. A no brainer of course, but the dialogue, and the discussion among the characters in the film feel so natural. It doesn’t come across as if the film itself is dictating how these character talk. Rather, it’s the characters themselves moving the story forward, and their storied history. The way the character speak to each other, and how they react to an individual does as much to convey character traits as much as the spoken words.

What’s with that look? I swear we didn’t have the dog for dinner last week.

If there’s any area Outlaw: Gangster VIP falters in is the romantic subplot involving Goro, and Yukiko Hashimoto (played by Cheiko Matsubara) is only half convincing. From Yukiko point of view her romantic feelings for Goro is sensible with what’s reveal about her in the film. However, from Goro perspective his romantic feelings for Yukiko don’t add up entirely. It simply comes off as a facade to get out of a uncomfortable situation. It’s a spoilerific scene that makes Goro yearn for Yukiko be questionable. Aside from that small drawback, the film plays out without a hitch. The seemingly large cast of characters never become too much to keep track off. It balances the small human aspects of it story without it losing itself with this Yakuza gang war that develops in the background. In spite of its many theme, and relatively short length at 90 minutes there’s always something important in occuring in the film. Finally, thematic exploration especially since by the end of the film you end up with a film that’s a lot thoughtful than the name would imply into a nice package.

Tetsuya Watari plays Goro Fujikawa (a character based on a real ex-gangster) in the first of many ventures. Watari excels in this portrayal of the Goro in both the physical, and emotional aspect required of him. His exterior, much like the character, is rough, and his line delivery shows no hint of a gentle soul. However, his eyes tell a different story whenever the camera focuses on him. Goro is a layered, and therefore Watari switching between contrasting personality for the same character feels natural. You will believe that Tetsuya Watari can defend himself against a  against an entire gang of knife wielding Yakuza by himself relatively well because of his commanding on screen presence. Simply put, Watari creates an quite an iconic character for the crime genre, even if the series as a whole is relatively unknown as of this writing.

Another noteworthy performance is by Mitsuo Hamada who plays Takeo Tsujikawa. He’s given more ranging material compare to Watari, but given a less layered character to portray. However, is able to hold his own much like Tetsuya Watari. Tsujikawa portrayal is more expressive of his overall turmoil, and happiness that his character faces. Relying less on body language, but doesn’t take away anything from his scenes. Whenever Tetsuya Watari ain’t the main focus Mitsuo Hamada is a fantastic choice to share the spotlight with. His scenes often relies on his comedic timing, and dramatic chop to make scenes. It’s a delicate balance that if done incorrectly a scene would have easily appeared too comedic, or too dramatic. Understanding this delicate balance, Hamda knows exactly how to deliver his lines in every scene. Plus, the times he shares the screen with Watari makes for some splendid bit of acting, as well as make for some of the best moments in the film in terms of writing.

Trust me, no stills from the film’s action sequences can do them rightful justice.

In terms of supporting cast members, besides Mitsuo Hamada, there’s Kyosuke Machida whom in spite in being in the film as much as Hamada, but he gets to shine in some heavily dramatic scenes. Tatsuya Fuji also gets a small part as Suzuki, but unfortunately his role is also brief ending before making much of an impression. Same thing for Yoshiro Aoki, although he’s more of the lacking variety sort since he’s villain of the film, and has to appear more scummy regardless of the scene he’s in. Yet, in spite of the small roles the supporting cast receives they all turn in good performances with what little they’re given. Finally, there’s Chieko Matsubara, and Kayo Matsuo whom are the only ladies of any noteworthy roles. They play the supportive ladies which tended to be common in films in general during the 60s, and earlier. Both actress do fine in the role, but only in her final scene does Chieko Matsubara get to deliver a good scene. However, her co-star Kayo Matsuo despite appearing less leaves a bigger impression. Helps with the fact her scenes in the film tend to be other topics instead of constantly delivering dialogue on how much she wants to stick with her man.

Finally, this review (and any other on this film for that matter) would do a huge injustice if not mentioning action coordinator Kakuo Watai, and cinematographer Kurataro Takamura. Firstly, Kurataro Takamura eye for visuals gives the film plenty of classic wide shots, and long takes to absorb late 1960 Japan. Making the film look very beautiful throughout many points in the film. I would even say thanks to the visual choices made it visuals have gotten better with time. There’s also the action sequence by Kakuo Watai which surprisingly are impressive considering the year it was made in. Granted, like with action sequences during this era of filmmaking there’s the usual suspects of spotting actors standing waiting for their cue to perform in the sequence. All the film’s set pieces have these issues made easier to spot thanks to the long takes, and white shots, but they don’t diminished the elaborate (for the time at least) set pieces. Being an obvious highlight of the movie, even if they’re more over the top in comparison to the rest of the film. The execution of them, and staging of these action sequences ensures it warrant a viewing from any viewer. Lastly, the score by Harumi Ibe is pretty good. Fitting tonally whenever it’s used, and sometimes adding more impact to a scene.

Outlaw: Gangster VIP is a slow drama thick with great storytelling, and a fantastic cast of characters. Director Toshio Masuda crafted a film that age extremely well visually, and narratively. Many of the themes in the film are given careful thought in how they’re explored while also never forgetting about its characters. Balancing the large scope gang war with the human element thrown in you have a film huge in its scope that succeeds in what it sets out to do. That’s also including the technical achievement of the film which at times, along with everything else working in great cohesion with each other, will make you forget you’re watching a 50 plus year old film.

9/10