Kurutta Yaju (狂った野獣, Sadao Nakajima, 1976)

Kurutta Yaju dvd coverRobbing a bank is harder than it looks but if it does all go very wrong, escaping by bus is not an ideal solution. Sadao Nakajima is best known for his gritty yakuza movies but Kurutta Yaju ( 狂った野獣, Crazed Beast/Savage Beast Goes Mad) takes him in a slightly different direction with its strangely comic tale of bus hijacking, counter hijacking, inept police, and fretting mothers. If it can go wrong it will go wrong, and for a busload of people in Kyoto one sunny morning, it’s going to be a very strange day indeed.

A young woman receives a phone call at a cafe – the person she’s waiting for is on his way, but the girl seems surprised and irritated to hear he will be arriving via public transport. Meanwhile, ordinary people are seen cheerfully going about their everyday business and boarding a bus headed for Kyoto station while a cool looking man in mac and sunshades clutches a violin case in the back. Suddenly, two shady guys jump on after their bank robbery goes belly up. Trying to escape the police, they threaten the driver with a gun and take the passengers hostage.

This sounds like a serious situation, and it is, but the two bumbling bank robbers haven’t thought any of this through and have no plans other than somehow driving the bus onwards to a land without policemen. Eventually the authorities are made aware of the hijacking but there is another hidden problem – the driver has a heart condition and is supposed to be avoiding “stressful situations”. Neither the bus company or the police has any more idea what to do now than the increasingly panicked criminals and the situation quickly makes its way into the press whereupon the mothers of two little boys presumed to be onboard are forced to dash straight down to the police station to find out exactly what the police are up to as regards rescuing their sons from dangerous criminals.

The atmosphere on the bus is tense but also ripe for comedy as each of these captive passengers gradually reveals an unexpected side of themselves. The “hero”, Shin (Tsunehiko Watase) – the cool looking dude on his way to meet the girl waiting in the cafe, keeps a low profile in the back, hoping this will all blow over. Meanwhile, a woman desperately tries to get off the bus because she’s more worried about missing an appointment than being killed by hijackers, and an adulterous couple on their way back from an illicit visit to a love hotel begin bickering about what will happen if any of this gets into the papers. The two little boys start crying and are comforted by an old lady who takes the time to remind the hijackers that they’re bringing shame on their families as well as exhorting the man next to her who is so engrossed in the racing news that he hasn’t really noticed the hijacking that he ought to be doing something about it. He does, but only gets himself into more trouble whilst further revealing the depths of the highjackers’ ineptitude.

Soon enough the woman from the cafe, Miyoko (Jun Hoshino), jumps on her bike to chase the bus and find out what Shin is playing at. As might be expected, there’s more to Shin than his ice cold exterior, and more to that violin case than a priceless musical instrument. The bus careers onward while the police come up with ever more bizarre attempts to stop it including, at one point, trying to drive right into the side to damage the engine. Bizarre hilarity ensues as a troupe of traditional musicians trolls the hijackers with an impromptu show, a kid pees out the window, and the bus plows straight through a chicken barn like some old time cartoon. Shin becomes the unlikely hero of the hour as he ends up counter hijacking the bus to try and cover up the circumstances which led him to get on in the first place.

Playing out in real time and only 78 minutes in length, Kurutta Yaju is a brilliant mix of absurd comedy and gritty action movie. Shin attempts to ride the situation out, hoping he’ll be able to turn it to his advantage, and, though he plays everything beautifully, eventually becomes disillusioned with what his strange bus odyssey might have cost him. Action packed, hilarious, and ultimately a little bit sad Kurutta Yaju is a lost gem in Toei’s B-movie backlog and another exciting addition to Japan’s long history of bus-centric cinema.


Original trailer (no subtitles)

Cops vs. Thugs (県警対組織暴力, Kinji Fukasaku, 1975)

cops vs thugs J BDCops vs Thugs – a battle fraught with friendly fire. Arising from additional research conducted for the first Battles Without Honour and Humanity series and scripted by the author of the first four films, Kazuo Kasahara, Cops vs Thugs (県警対組織暴力, Kenkei tai Soshiki Boryoku) shifts the action west but otherwise remains firmly within the same universe. This is a world of cops and robbers, but like bored little boys everyone seems to forget which side it was they were on – if they truly were on any other side than their own. There are few winners, and losers hit the ground before feeling the humiliation, but the one thing which is clear is that the thin blue line is so thin as to almost be transparent and if you have to choose your defenders, a thug may do as well as a cop.

A dodgy looking guy in a dirty mac roughs up some equally dodgy looking kids. Given that the shady looking fella is played by Bunta Sugawara you’d peg him for a petty thug, but against the odds Kuno is a cop – just one with a taste for crumpled raincoats. The town he’s policing is one in the midst of ongoing gang strife following a series of breakaways and civil wars throughout the ‘50s. Things are coming to a head as rival bosses of the two breakaway factions, Hirotani (Hiroki Matsukata) and Kawade (Mikio Narita), vie for power while a former yakuza politician, Tomoyasu (Nobuo Kaneko), does his best to stir up trouble between them that Kuno is trying to keep from exploding into all out war.

Cops vs Thugs is as cynical as they come but slightly more sympathetic to its desperate, now middle aged men whose youth was wasted in the post-war wasteland. The central tenet of the film is neatly exposed by a drunken gangster who points out that at heart there’s little difference between a cop and a yakuza aside from their choice of uniform. Policemen, like gangsters, follow a code – the law, carry a gun, are fiercely loyal to their brotherhood, and at the mercy of their superiors. Good jobs were hard to come by in the devastation following the surrender, in fact one of the reasons company uniforms became so popular was that no one had decent clothes to wear and a providing a uniform was a small thing that a company could to do increase someone’s sense of wellbeing, community, and engender the feeling of family within a corporate context. The police uniform, even if it’s reduced to a badge and a gun, does something similar, as do a yakuza’s tattoos. They literally say someone has your back and will come running when you’re in trouble.

These drop outs with nowhere left to turn eventually found themselves one side of a line or on the other – the choice may have been arbitrary. Kuno says he became a cop because he wanted to carry a gun, something he could have done either way but for one reason or another he chose authority over misrule. Cops being friends with yakuza sounds counter intuitive, but many of these men grew up alongside each other, attended the same schools, perhaps even have relatives in common.

Both the police and the yakuza claim to be the defenders of honest, working people but neither of them quite means what they say. Police brutality is rife while yakuza battles reach new levels of violent chaos including, at one point, a beheading in the middle of a sunlit street. Yet the greatest threats to the population at large aren’t coming from such obvious sources, they’re hardwired into the system. Sleazy politico Tomoyasu spends his time in hostess bars and schmoozes with gangsters he uses to do his dirty work while the press look on gleefully at having something to report. Kuno may not be a candidate for police officer of the year, but he tells himself that his policy is one of appeasement, and that working with organised crime is the best way to protect the ordinary citizen. When you’re forced to work within a corrupt system, perhaps there is something to be said for flexibility.

For all of the nihilistic cynicism Fukasaku retains his ironic sense of humour, staging a violent, inefficient, and bloody murder in a tiny room where a sweet song about maternal love in which a woman sings of her hopes for the bright future of her son is playing a healthy volume. Corruption defines this world but more than that it’s the legacy of post-war desperation that says on the one hand that it’s every man for himself, but that it’s also necessary to pick a side. Cops, thugs – the distinction is often unimportant. There is sympathy for these men, and sadness for the world that built them, but there’s anger here too for those who play the system for their own ends and are content to see others pay the price for it.


Available now from Arrow Video!

Original trailer (English subtitles)

Originally published by UK Anime Network.

The Yakuza Papers Vol. 5: Final Episode ( 仁義なき戦い: 完結篇, Kinji Fukasaku, 1974)

800x1200srAnd so, the saga finally reaches its conclusion. Final Episode (仁義なき戦い: 完結篇, Jingi Naki Tatakai: Kanketsu-hen) brings us ever closer to the contemporary era and picks up in the mid ‘60s where Hirono is still in prison and Takeda, released on a technicality, has decided to move the yakuza into the legit arena. The surviving gangs have united and rebranded themselves as a political group known as the Tensei Coalition. However, not everyone has joined the new gangsters’ union and the enterprise is fragile at best.

Hirono’s sworn brother, Ichioka, is one such antagonist and after the Coalition’s accountant is clumsily gunned down in the street, tempers start to flair. Though the Coalition is nominally headed by Takeda, an up and coming youngster, Matsumura, is winning a lot of respect for his level headed judgement and ability to form long term plans. He wants to move away from the image of the traditional yakuza with their missing fingers and bad attitudes to something a little more media friendly. However, the old guard including the veteran, Otomo (now played by Jo Shishido), aren’t willing to see the bigger picture and continue to behave in the old ways requiring swift and bloody justice for their fallen comrade. The older generation maybe on their way out, but that doesn’t mean they can’t cause a little trouble on their way. Despite the best efforts of the younger guys the cycle of violence seems set to continue, will anything ever change at all?

According to Fukasaku, almost certainly not. Though Matsumura is accounted to be a good guy by both of our “heroes” Hirono and Takeda, his yakuza revolution seems doomed to fail. This kind of coalition is completely pointless if not everybody joins and obviously not everybody is going to. Following the public outcry and subsequent police crackdown in the previous film, the yakuza feel the need to reform their image, keep the violence off the streets and appear generally less scary than the image they’ve hitherto cultivated. Now it suits them to conduct themselves in a more dignified manner, more like regular businessmen than thugs in flashy suits.

Meeting at the prison in the end of Police Tactics, Hirono and Takeda both agree that their era has passed. They still aren’t quite old men, but they aren’t young and this violent world isn’t for them anymore. Their resolutions are both that the general environment has changed making the way they’ve lived so far untenable, but also that if they attempted to live that way again they simply wouldn’t survive any longer (perhaps they are “better off” in jail). Hirono spends most of the movie off screen again, in prison, writing his memoirs. Before coming out he seems set on “retirement” but once released he decides to return to the yakuza world. It’s not until the end of the film when once again confronted by the senseless violence of gang warfare that he finally decides to retire. Matsumura may have been trying to change things, but more young guys are dying so fast there’s barely any point learning their names and what really does it get you in the end? Can you live freely, has the world really changed at all? From Hirono’s late middle age viewpoint, the answer is no.

Final Episode follows the same basic formula as the other films in the series with the narrative voice over, frenetic handheld camera work, captions and freeze frames. The violence may be a little less frequent but appears bolder in its execution. These youngsters are messier than their forebears – the gunning down of the Tensei accountant is a clumsy affair carried out by two amateurs in the middle of a crowded street. Random weapons are constructed with pretty much anything that’s lying around during a street fight. These young guys are a different kind of desperate and have no idea how to conduct themselves in a subdued way.

We’re almost up to the the contemporary era of the film. It’s getting on for 25 years since Hirono came home from the war and joined a different kind of battlefront. Japan’s development has been startlingly rapid – from post-war rubble to hosting the olympic games and a newly burgeoning prosperity. Hirono and those like him have found themselves riding the wrong wave as their fortunes continue to dwindle just as the legitimate world is coming into its own. When Hirono and Takeda were talking at the prison at the end of part four they knew something had come to an end. They had no place in this world anymore – unless you become a ruthless boss like the hated Yamamori (still harbouring dreams of domination well into his dotage), the yakuza life is a young man’s game. Once again we finish on a shot of the ruined dome and a reminder that the strong will always prey on the weak. Fukasaku’s prognosis for the future is grim but, it has to be said, accurate.


Final Episode is available on blu-ray in the UK as part of Arrow Video’s Battles Without Honour and Humanity: The Complete Collection box set.