Detective Bureau 2-3: Go to Hell Bastards! (探偵事務所23 くたばれ悪党ども, Seijun Suzuki, 1963)

detective-bureau-2-3Before Seijun Suzuki pushed his luck too far with the genre classic Branded to Kill, he bided his time adding his own particular brand of zany absurdism to Nikkatsu’s standard cool guy fights crooks and gets girl formula. Detective Bureau 2-3: Go to Hell Bastards! (探偵事務所23 くたばれ悪党ども, Tantei Jimusho 23: Kutabare Akutodomo) is just one of these efforts. Made around the time of Suzuki’s major turning points such as the similarly named The Bastard, and relatively better known Youth of the Beast, the film follows Nikkatsu’s standard pattern but allows frequent Suzuki leading man and Nikkatsu A-lister Joe Shishido to swan about the place in grand style, effortlessly manipulating everything and everyone to come out on top once again. Filled with snappy dialogue and painted with an irony filled noirish aesthetic, Detective Bureau 2-3 does not care about its plot, and wants you to know you shouldn’t either.

The action kicks off when a low level yakuza, Manabe (Tamio Kawachi), is captured by the police following a bloody turf battle. Manabe isn’t talking, the police can’t hold him much longer, and a bunch of gangsters from all factions are already waiting outside to eliminate him as soon as he’s released. Enter Tajima (Jo Shishido) – private detective and head of Detective Bureau 2-3. Managing to convince his “buddies” in the regular police that he’s exactly the right guy to sort all of this out, Tajima constructs an undercover ID, stages a daring rescue of Manabe, and worms his way into his gang to find out what’s going down in yakuza land. Whilst there he begins romancing the boss’ cold hearted girl and attempting to find out the whereabouts of a cache of stolen weaponry before getting all of the bad guys together in one place so the police can arrest them with maximum efficiency.

Even more so than Suzuki’s other films from the period, Detective Bureau 2-3 moves like a rocket with barely anytime to follow the plot even if there was one. Tajima is like some cartoon hero, half Lupin III and half Top Cat, always landing on his feet or speeding away from danger in a swanky sports car. Even when trapped (along with his love interest) inside a burning basement with no means of escape, he comes up with an ingenious solution to get the all important evidence out there in the hope that his police buddies will come and rescue him. Tajima is the guy you can always rely on to get you out of a fix, even if it gets you into an even bigger fix.

Unexpectedly, Detective Bureau 2-3 also has a mild Christmas theme as the seedy dive bar Tajima and the crooks hang out in attempts to get into the festive spirit. This is a world of gamblers and showgirls where the glamour of the smokescreen underworld undercuts the less savoury aspects the men who people it. Suzuki gives us a fair number of cabaret numbers set against the Christmassy decorations and creates an awkward situation for Tajima as his on and off cabaret star girlfriend threatens to blow his cover, even dragging him up on stage for a pointed duet about useless boyfriends who never keep their promises. Actually that all kind of works for him too because it annoys the boss’ girl, who is definitely starting to at least develop complicated feelings towards him. Trapped with her cruel yet supposedly impotent gang boss boyfriend-cum-jailer, she’s about eight different kinds of frustrated and has been waiting for someone like Tajima to come and set her free (in about eight different ways), so all of this is really going very well for him.

Detective Bureau 2-3: Go to Hell Bastards! is just as zany and frenetic as the title suggests, moving from one bizarre action set piece to another filled with exploding coke bottles and weaponised cement trucks all while Shishido grins wildly and poses in his sharp suit and trench coat. Inconsequential, yes, but Detective Bureau 2-3 never claims to be anything other than cartoonish fun as Shishido and co offer up a series of wacky one liners and breeze through the action with an effortless kind of glee. Filled with Suzuki’s visual flair, Detective Bureau 2-3 is among his lesser efforts but is undeniably good fun and another colourful outing for the increasingly cool Shishido.


Original trailer (no subtitles)

Danger Pays (危いことなら銭になる, Ko Nakahira, 1962)

Danger PaysWhere there’s danger, there’s money! Or, maybe just danger, who knows but whatever it is, it certainly doesn’t lack for excitement. Ko Nakahira is best known for his first feature, Crazed Fruit, the youthful romantic drama ending in speed boat murder which ushered in the Sun Tribe era. Though he later tried to make a return to more artistic efforts, it’s Nakahira’s freewheeling Nikkatsu crime movies that have continued to capture the hearts of audience members. Danger Pays (AKA Danger Paws, 危いことなら銭になる, Yabai Koto Nara Zeni ni Naru) is among the best of them with its cartoon-like, absurd crime caper world filled with bumbling crooks and ridiculous setups.

The central plot gets going when a truck carrying watermarked paper destined for the mint is hijacked with force by armed thugs. They need a master forger though so they set out to recruit one of the best counterfeiters currently working on his way back from a business trip to Hong Kong. However, three petty crooks have also gotten wind of the scam and are trying to head off their rivals by kidnapping the old grandpa first.

The three guys are “Glass Hearted Joe” – a purple suited dandy with an aversion to the sound of scraping glass, Slide Rule Tetsu who walks with a cane and is a whizz with the abacus, and Dump-Truck Ken who’s a geeky sort of guy who also owns a dumper truck. Sakamoto, the forger, eludes their grasp when the better equipped professionals turn up, but none of them is willing to give up on the prize. A little later, Joe teams up with a female ally – Tomoko, who is keen martial artist and smarter than the other three put together. Eventually the four end up becoming an accidental team though it remains to be seen if they can really turn this increasingly desperate situation to their advantage.

Danger Pays is in no way “serious” though this is far from a criticism. Armed with a killer script filled with amazing one liners which are performed with excellent comic timing by the A-list cast, Danger Pays is the kind of effortlessly cool, often hilarious crime caper which is near impossible to pull-off but absolutely sublime when it works – which Danger Pays most definitely does. Though there is a large amount of death and bloodiness in the final third, the atmosphere remains cartoonish as our intrepid team of four simply step over the bodies to go claim their prize with only one of them left feeling a little queasy.

Nakahira maintains the high octane, almost breathless pace right through to the end. The finale kicks in with our heroes trying to escape from a locked room which is about to be filled with gas only to be trapped like rats in an elevator shaft where they engage in an improbable shootout whilst bodies rain down on them from above bathed in the red emergency light of the escape vaults. This is a hardboiled world but one cycled through cigar munching wise guys and tommy guns, it’s all fun and games until you’re trapped in a lift knee deep in corpses while blood drips from a couple more dead guys on the ceiling.

Ridiculous slapstick humour and broad comedy are the cornerstones of Danger Pays though it also makes its central crime conceit work on its own only to overturn it with a final revelation even as the credits roll. Excellently played by its four leads, this comic tale of “victimless crime” in the improbably colourful underworld of ‘60s Tokyo is one which is filled with absurd humour, cartoon stunts, and ridiculous characters but proves absolutely irresistible! If only modern day crime capers were this much fun.


Danger Pays is the second of three films included in the second volume of Arrow’s Nikkatsu Diamond Guys box set.

Outlaw: Heartless (大幹部 無頼非情, Mio Ezaki, 1968)

heartlessThings take a slight detour in the third of the Outlaw series this time titled “Heartless” (大幹部 無頼非情, Daikanbu Burai Hijo). Rather than picking up where we left Goro – collapsed on a high school volleyball court, it’s now 1956 and we’re with a guy called “Goro the Assassin” but it’s not exactly clear is this is a side story or perhaps an entirely different continuity for the story of the noble hearted gangster we’ve been following so far. The only constant is actor Tetsuya Watari who once again plays Goro Fujikawa but in an even more confusing touch the supporting characters are played by many of the actors who featured in the first two films but are actually playing entirely different people….

So, it’s 1956 and this time Goro is out on a job to take out a rival gangster only he has a change of heart when the man’s wife pleads with him. Goro tells the pair to leave through the back door but one of the other gangsters turns up before they can escape and takes care of the husband whilst casting a watchful eye on the now treacherous Goro. Right before his lights go out, the murdered man tells Goro that he’s been framed as part of the boss’ gambling scam and tasks Goro with taking his sickly wife to Nagoya for medical treatment. After cleaning out the bad guys at the gambling den, Goro takes off with wife in tow and even runs into an old friend along the way but as usual nothing’s quite a simple as it seems.

If the problem with Gangster VIP 2 was staying too close to the formula established in the previous film, then Heartless perhaps attempts to overcorrect this flaw by doing something completely different. It’s really not clear how this film links in with the other two and the presence of most of the same actors playing entirely different characters is more than a little confusing to say the least, though it is a problem which occurs quite frequently with these kinds of films and is largely due to the way they were produced at studio level.

Once again the roots of restless gangsters lie post-war turmoil as the fellow ex-mobster Goro runs into is another childhood friend from the streets – Goro actually saved his life when he became dangerously ill by sneaking onto a US military base to “acquire” some penicillin (quite a canny move for a young boy, it has to be said). There’s less harking back to the theme of homes and hometowns than in the first two movies – yakuza wives take on a bigger role instead, becoming the symbol of a more normal life that is somewhat denied to both gangsters (ex or otherwise) and also burdening their husbands with the need to ensure their safety.

As in the first two films, Goro is referred to as being “different” from the regular yakuza. His potential love interest (again played by Chieko Matsubara but not as Yukiko from the other two movies) argues with her father who was also a yakuza but gave up the gangster life for love of her mother – he warns her off men of Goro’s ilk as they rarely do anything from the kindness of their hearts, but she remonstrates with him that Goro isn’t that kind of gangster. This time he’s also carrying around a bracelet that belonged to an old flamed called “Natsuko” that we haven’t heard of before but gives his pleas not to take a man like him to heart a little more weight.

Heartless is the only film in the series to be directed by Mio Ezaki (the first being directed by Toshio Masuda and the others by Keiichi Ozawa) and has little of the visual style of the first two movies though the title sequence of Goro single handedly raiding the gambling den proves a stylish early highlight. In keeping with the other two films we still have a large scale fight sequence nearing the finale which is played against the song of a cabaret singer and there’s even a little strange slapstick as the final fight ends up in some kind of decorators’ warehouse with everyone sliding around and getting covered in paint. After taking care business Goro tries to exile himself again, staggering off in an uncertain direction whilst the song playing extols the lonely fate of a “wandering man” which is perhaps the only heart he carries – the ruined heart of a “heartless” man with no roots or anchor to tie him home, a wanderer with no clansmen and no hope of salvation.


Outlaw: Heartless is the third of six films included in Arrow films’ Outlaw: Gangster VIP The Complete Collection box set (which is region free on DVD and blu-ray and available from both US and UK).

English subtitled original trailer:

Outlaw: Gangster VIP 2 (大幹部 無頼, Keiichi Ozawa, 1968)

Outlaw Gangster VIP 2So, as it turns out the end of Outlaw: Gangster VIP was not quite as final as it might have seemed. Outlaw Gangster VIP 2 (大幹部 無頼, Daikanbu Burai) picks up not long after the end of the first film when Goro (Tetsuya Watari), having recovered from his injuries, takes a train to go and find Yukiko (Chieko Matsubara) with the intention of starting an honest life with her away from the temptations of the big city. However, as often happens, his past follows him.

Like the first film, Outlaw: Gangster VIP 2 also begins with a black and white flashback sequence reminding us of Goro’s childhood only this time with a voice over from Goro himself who goes on to include the first film’s events in his recap. Goro might have come to the country to get away from the gangster life but as soon as he steps off the train he gets himself into trouble with a local gang by interfering with a few tough guys who are trying to entrap a group of actresses and force them into their employ. One of the leading actresses is just as taken with Goro as Yukiko was in the first film and gives him her red scarf as a thank you. Goro is still very much with Yukiko though and trudges off through the snow to find her.

She and Yumeko, Sugimoto’s former girlfriend, are living in a small hut but Yumeko has fallen ill and is refusing to see a doctor out of fear of the expense. Goro gets a legitimate logging job but before long the company hits trouble and he’s let go. All the while Yumeko’s condition is weakening and the three are in desperate need of money. One of the local gangsters Goro runs into trouble with turns out to be an old friend who offers him a job. Goro was hoping to leave the Yakuza world behind forever but it seems it isn’t finished with him yet…

In many ways this second instalment in the Outlaw: Gangster VIP series is very much more of the same as noble outlaw Goro battles the ever more cruel and corrupt forces of the Yakuza underworld in defence of women folk and underdogs everywhere. Directed this time by Keiichi Ozawa the film is disappointing only where it begins to feel like a rehash by following the familiar story beats of the first film with its betrayed underlings and treacherous bosses yet still manages to feel fresh and exciting for most of the running time.

The action this time around takes place in the vast snowy expanses of Northern Japan and has a much more open feeling overall with greater use of location shooting rather than the studio bound atmosphere of the first film. Ozawa follows Masuda’s lead but angles for a few expressive sequences of his own such as attempting to cut a flamenco dance sequence (starring a young Meiko Kaji acting under her original name) with a potential stand off and less successfully by playing a high school girl volleyball game against the final fight to the death which is going on in the waterway below.

The concept of home and having a home town is once again emphasised as a recurring motif where the desire for a normal life and family can get a man killed – the recurrent message being that a yakuza is a man without ties to the normal world. Such relationships are now denied him by his bond to his gangster brothers and will not only place in danger those you most love, but will ultimately lead to your own downfall too. Once again Goro wrestles with his desire to build a more normal life with Yukiko and the self knowledge that his yakuza past will never let him rest and perhaps the best thing for her is to make her go.

Outlaw: Gangster VIP 2 can’t quite match the power of the first film’s finale and often feels as if it’s retreading the same ground yet it is quite interesting ground to retread. Even if there weren’t another four films in the series, one gets the feeling that fate hasn’t finished toying with Goro yet and even if the yakuza world continues turning in the same ancient cycles of violence and revenge, Goro at least will be standing on the side of right, perpetually and ironically fighting in an attempt to put an end to it all for good.


Outlaw: Gangster VIP 2 is the second of six films included in Arrow films’ Outlaw: Gangster VIP The Complete Collection box set (which is region free on DVD and blu-ray and available from both US and UK).

English subtitled original theatrical trailer: