Tokyo Dragon Chef (Tokyoドラゴン飯店, Yoshihiro Nishimura, 2020)

Yoshihiro Nishimura began his career designing makeup and special effects for other directors working in the genre he would later headline, low budget splatter/exploitation primarily produced for the export market. With such legendary titles as Tokyo Gore Police, Vampire Girl vs. Frankenstein Girl, and Helldriver under his belt Nishimura’s reputation for surreal violence is already assured, but Tokyo Dragon Chef (Tokyoドラゴン飯店, Tokyo Dragon Hanten) sees him heading in a different, perhaps unexpected direction with a “family friendly” (depending on your family) musical tale of changing times, intergenerational warfare, and the wholesome soul of ramen. 

Veteran yakuza Tatsu (Yoshiyuki Yamaguchi) has just come out of prison but emerges into a world very different than he left it. His old comrade Ryu (Yasukaze Motomiya) now peddles Nata de Coco out of a tiny van, explaining that a mysterious invader with a third eye, Gizumo (Yutaro), apparently beheaded not only their gang boss but several others in the area effectively killing off the local yakuza scene. Remembering that Tatsu had a reputation as top a cook, a skill he apparently honed inside, Ryu suggests permanently retiring from the life to open a ramen bar. Meanwhile, two rival yakuza, Kazu (Kazuyoshi Ozawa) and Jin (Hitoshi Ozawa), have had exactly the same idea, setting up a van virtually outside and positioning themselves the competition by serving truly ginormous portions literally pushing quantity over quality.  

The truth is that the yakuza as an organisation has entered its twilight period, these older, Showa-style gangsters no longer have much of a place in the modern world hence why they need to find alternative ways of living. This is a fact brought home to them by the main villain who has a bizarre habit of singing Merry Christmas and is something like a youth elitist who resents the privileged status of the middle-aged and older in Japan’s ageing society, insisting that “Japan can’t survive with only old people like you” and that they should step aside to allow the young to rule. His villainy is well and truly signalled by his allegiance to fancy steak dinners which he characterises as high class cuisine suitable for righteous citizens like himself, rejecting the earthy, wholesome charms of the iconic shomin soul food that is ramen. 

The former yakuza, meanwhile, forced to work together, are an unexpected source of egalitarian solidarity. Not only do they eventually add an Okinawan soothsayer (Michi), holding a bright red crystal ball and dressed in traditional Ryukyu fashion while singing in a typical island style, to their ranks but their chief supporter closes all his YouTube videos with “kamsamnida”. Old style gangsters, they intensely resent that Gizumo has taken the battle to the streets in targeting those outside the life such as the Chinese owner of another local ramen bar and the father of their biggest fan, ramen-obsessed high school girl Kokoro (Rinne Yoshida). Yet there is something a little subversive in the irony of these multicultural nods, Kazu and Jin’s rival mascot character Mimi (Saiko Yatsuhashi), a YouTube star famous for eating giant portions who intensely resents being called an “alien”, breaking into cod Korean while the Chinese ramen guy is dressed in the full “Chinaman” outfit complete with fake pigtail. 

Nevertheless, it’s the wholesome charms of authentic ramen which eventually bring people together as the gang prepare to face off against Gizumo who apparently wants to turn the land into some kind of soulless hotel state. The final fight in which the former goons arm themselves only with ramen utensils and noren poles is also not without its share of irony as they turn Gizumo’s weird iconography back against him in despatching his henchmen who are each wearing helmets in the shape of an eyeball which would it seems be something of a handicap in hand-to hand combat even if your opponents were not fearsome gangsters, determined high school girls with vengeance on their minds, “alien” mascots, and spiritualists armed with hazardous balls. A fantastically silly affair, Tokyo Dragon Chef isn’t taking itself too seriously but has wholesome charms of its own in a tale of reformed yakuza, rebirthed communities, and the healing power of ramen as a universal unifier pushing back against snooty, youthful elitism in an ageing society.


Tokyo Dragon Chef is released on DVD & VOD on 25th January courtesy of Terracotta Distribution.

UK Release trailer (English subtitles)

Violent Cop (その男、凶暴につき, Takeshi Kitano, 1989)

By and large, policemen in Japanese cinema are at least nominally a force for good. They may be bumbling and inefficient, occasionally idiotic and easily outclassed by a master detective, but are not generally depicted as actively corrupt or malicious. A notable exception would be within the films of Kinji Fukasaku whose jitsuroku gangster movies were never afraid to suggest that the line between thug and cop can be surprisingly thin. Fukasaku was originally slated to direct Violent Cop (その男、凶暴につき, Sono Otoko, Kyobo ni tsuki), casting top TV variety star “Beat” Takeshi in the title role in an adaptation of a hardboiled parody by Hisashi Nozawa. The project later fell apart due to Kitano’s heavy work schedule which eventually led to him directing the film himself, heavily rewriting the script in order to boil it down to its nihilistic essence while rejecting the broad comedy his TV fans would doubtless have been expecting. 

Kitano’s trademark deadpan is, however, very much in evidence even in this his debut feature in which he struggled to convince a veteran crew to accept his idiosyncratic directorial vision. He opens not with the “hero”, but with a toothless old man, a hobo beset by petty delinquents so bored by the ease of their comfortable upperclass lives that they terrorise the less fortunate for fun. Azuma (Takeshi Kitano), the violent cop, does not approve but neither does he intervene, later explaining to his boss that it would have been foolish to do so without backup. Having observed from the shadows, he tails one of the boys to his well-appointed home, barges past his mother, and asks to have a word, immediately punching the kid in the face as soon as he opens the door. Rather than simply arrest him, he strongly encourages that he and his friends turn themselves in at the police station the next day or, he implies, expect more of the same. The kid complies. 

Azuma embodies a certain kind of justice acting in direct opposition to the corruptions of the Bubble era which are indirectly responsible for the creation of these infinitely bored teens who live only for sadistic thrills. He arrives too late, however, to have any effect on the next generation, cheerfully smiling at a bunch of primary school children running off to play after throwing cans at an old man on a boat. Children always seem to be standing by, witnessing and absorbing violence from the world around them as when a fellow officer is badly assaulted by a suspect following Azuma’s botched attempt to arrest him in serial rather than parallel with his equally thuggish colleagues. But for all that Azuma’s violence is inappropriate for a man of the law, it is never condemned by his fellow officers who regard him only as slightly eccentric and a potential liability. Even his new boss on hearing of his reputation tells him that he doesn’t necessarily disapprove but would appreciate it if Azuma could avoid making the kind of trouble that would cause him inconvenience. 

That’s obviously not going to happen. What we gradually realise is that Azuma may be in some ways the most sane of men or at least the most in tune with the world in which he lives, only losing his cool when a suspect spits back that he’s just as crazy as his sister who has recently been discharged from a psychiatric institution. Azuma has accepted that his world is defined by violence and no longer expects to be spared a violent end. He smirks ironically as he slaps his suspects, connecting with them on more than one level in indulging in the cosmic joke of existential battery. To Kitano, violence is cartoonish, unreal, and absurd. The only time the violence is shocking and seems as if it actually hurts is when it is visited directly on Azuma, the camera suddenly shifting into a quasi-PV shot as a foot strikes just below the frame. The targets are otherwise misdirected, a young woman caught by a stray bullet while waiting outside a cinema or a cop shot in the tussle over a gun, and again the children who only witness but are raised in the normalisation of violence. 

Meanwhile, organised crime has attempted to subvert its violent image by adopting the trappings of the age, swapping post-war scrappiness for Bubble-era sophistication. Nito (Ittoku Kishibe), the big bad, has an entire floor as an office containing just his oversize desk and that of his secretary. These days, even gangsters have admin staff. Minimalist in the extreme with its plain white walls and spacious sense of emptiness, the office ought to be a peaceful space but the effect of its deliberately unstimulating decor is quite the reverse, intimidating and filled with anxiety. Behind Nito the ordinary office blinds look almost like prison bars. Meanwhile, the police locker room in much the same colours has a similarly claustrophobic quality, almost embodying a sense of violence as if the walls themselves are intensifying the pressure on all within them. 

Azuma is indeed constrained, even while also the most “free” in having decided to live by his own codes in rejection of those offered by his increasingly corrupt society. He walks a dark and nihilistic path fuelled by the futility of violence, ending in a Hamlet-esque tableaux with only a dubious Fortinbras on hand to offer the ironic commentary that “they’re all mad”, before stepping neatly into another vacated space in willing collaboration with the systemic madness of the world in which he lives. With its incongruously whimsical score and deadpan humour Violent Cop never shies away from life’s absurdity, but has only a lyrical sadness for those seeking to numb the pain in a world of constant anxiety. 


Violent Cop is the first of three films included in the BFI’s Takeshi Kitano Collection blu-ray box set and is accompanied by an audio commentary by Chris D recorded in 2008, plus a featurette recorded in 2016. The first pressing includes a 44-page booklet featuring an essay on Violent Cop by Tom Mes, as well as an introduction to Kitano’s career & writing on Sonatine by Jasper Sharp, a piece on Boiling Point from Mark Schilling, an archival review by Geoff Andrew, and an appreciation of Beat Takeshi by James-Masaki Ryan.

The Takeshi Kitano Collection is released 29th June while Violent Cop, Boiling Point, and Sonatine will also be available to stream via BFI Player from 27th July as part of BFI Japan.

Original trailer (English subtitles)