Resurrection of Golden Wolf (蘇る金狼, Toru Murakawa, 1979)

resurrection-golden-wolfYou know how it is. You work hard, make sacrifices and expect the system to reward you with advancement. The system, however, has its biases and none of them are in your favour. Watching the less well equipped leapfrog ahead by virtue of their privileges, it’s difficult not to lose heart. Asakura (Yusaku Matsuda), the (anti) hero of Toru Murakawa’s Resurrection of Golden Wolf (蘇る金狼, Yomigaeru Kinro), has had about all he can take of the dead end accountancy job he’s supposedly lucky to have despite his high school level education (even if it is topped up with night school qualifications). Resentful at the way the odds are always stacked against him, Asakura decides to take his revenge but quickly finds himself becoming embroiled in a series of ongoing corporate scandals.

Orchestrating a perfectly planned robbery on his own firm in which Asakura deprives his employers of a large amount money, he’s feeling kind of smug only to realise that the bank had a backup plan. The serial numbers of all of the missing money have been recorded meaning he can’t risk spending any of it. Accordingly he decides the “safest” thing to do is exchange the problematic currency for the equivalent in heroine. His plan doesn’t stop there, however. He also knows the big wigs at the top are engaged in a high level embezzlement scam and seduces his boss’ mistress, Kyoko (Jun Fubuki), for the inside track. Asakura is not the only game in town as another detective, Sakurai (Sonny Chiba), is blackmailing some of the other bosses over their extra-marital activities. Playing both sides off against each other, Asakura thinks he has the upper hand but just as he thinks he’s got what he wanted, he discovers perhaps there was something else he wanted more and it won’t wait for him any longer.

Based on a novel by hardboiled author Haruhiko Oyabu, Resurrection of Golden Wolf is another action vehicle for Matsuda at the height of his stardom. Re-teaming with Murakawa with whom he’d worked on some of his most famous roles including The Most Dangerous Game series, Matsuda begins to look beyond the tough guy in this socially conscious noir in which an angry young man rails against the system intent on penning him in. A mastermind genius, Asakura is leading a double life as a mild mannered accountancy clerk by day and violent punk by night, but he has every right to be angry. If his early speech to a colleague is to be believed, Asakura worked hard to get this job. A high school graduate with night school accreditation, he’s done well for himself, but despite his friend’s assurance that Asaukura is ahead in the promotion stakes he knows there’s a ceiling for someone with his background no matter how hard he works or how bright he is.

Under the terrible wig and unfashionable glasses he adopts for his work persona, Asakura has a mass of unruly, rebellious hair and a steely gaze hellbent on revenge against the hierarchical class system. He is not a good guy. Asakura’s tactics range from fisticuffs with street punks to molesting bar hostesses, date rape, and getting his (almost) girlfriend hooked on drugs as a means of control, not to mention the original cold blooded murder of the courier he stole the company’s money from in the first place. The fact he emerges as “hero” at all is only down to his refusal to accept the status quo and by his constant ability to stay one step ahead of everyone else. When the system itself is this corrupt, Asakura’s punkish rebellion begins to look attractive despite the unpleasantness of his actions.

Adding in surreal sequences where Asakura dances around his lair-like apartment in a quasi-religious ritual with his silver mask, plus bizarre editing choices, eerie music and incongruous flamenco, Murakawa’s neo-noir world is an increasingly odd one, even if not quite on the level of his next film, The Beast Must Die. Very much of its time and remaining within the upscale exploitation world, Resurrection of Golden Wolf is necessarily misogynistic as its female cast become merely pawns exchanged between men to express their own status. The tone remains hopelessly nihilistic as Asakura nears his goal of the appearance of a stereotypically successful life with an executive job and possible marriage to the boss’ daughter only to find his conviction wavering. Hopelessly bleak, dark, and sleazy, Resurrection of Golden Wolf is, nevertheless, a supreme exercise in style marrying Matsuda’s iconic image with innovative direction which is hard to beat even whilst swimming in some very murky waters.


Again, many variations on the English title but I’ve gone with Resurrection of Golden Wolf as that’s the one that appears on Kadokawa’s release of the 4K remaster blu-ray (Japanese subs only).

Original trailer (English subtitles)

At Noon (正午なり, Koichi Goto, 1978)

at noonKoichi Goto’s Art Theatre Guild adaptation of Kenji Maruyama’s 1968 novel At Noon (正午なり, Mahiru Nari) begins with a young man on a train. Forlornly looking out of the window, he remains aboard until reaching his rural hometown where he makes a late entry to his parents’ house and is greeted a little less than warmly by his mother. The boy, Tadao, refuses to say why he’s left the big city so abruptly to return to the beautiful, if dull, rural backwater where he grew up.

There’s little work here for a young man, which is why Tadao left in the first place. After using some family connections to try and find a job, he finally decides to make use of his abilities by fixing radios and TV sets for a local electronics store. To begin with he doesn’t want to see his old friend, Tetsuji, perhaps out of a sense of shame at having returned home but the pair later strike up their old friendship – that is, until Tetsuji suddenly announces his plans to run away with a local bar hostess.

It’s never quite revealed what happened to Tadao in Tokyo but it seems to have been something serious enough to change the course of his entire life and send him reeling back home depressed and angry. In many ways he’s a typical young man, if slightly sullen, but he’s developed a serious number of sexual hangups which have turned him into some kind of repressed, misogynistic, pervert. He appears to have made a deliberate decision to dislike the idea of women, or at least the idea of women with sexual appeal. He thinks women are trouble, that no good comes of love, but can’t stop himself from spying on the female tourists staying in an upper room. He’s always looking, staring invasively, but resolved not to touch.

Tadao has already been to the city and evidently found it not quite to his liking but his friend, Tetsuji, feels bored in the village and trapped by his parents who need his help in their orchards. When Tadao realises Tetsuji is taking the hostess with him when he skips town, he asks for the money he just agreed to lend him back and tells him to forget about running away and just to go home. Unfortunately for Tetsuji, Tadao’s advice proves sound as his city dreams don’t work out the way he planned either. To end his frequent attempts to escape, Tetsuji’s family float the idea of an arranged marriage which originally horrifies both boys but after meeting his prospective bride, Tetsuji changes his mind. Tadao doesn’t approve, but after meeting the girl in question and seeing that she is quite lovely changes his mind too and is happy for his friend – that is, until he realises Tetsuji has only introduced him to her as a pretext of getting her on her own to enact his marital rights a little ahead of schedule. This breach of morality proves the final straw for Tadao who does not like the idea of his wayward friend deceiving and then ruining this innocent young flower who’s far too good for him anyway.

Tadao’s fascination with another damaged bar girl, Akemi, continues as the two find themselves both looking at the sad figure of a tethered eagle imprisoned at the local zoo. Akemi says she likes to look at the bird as she feels perhaps somehow that helps him escape. She feels like a caged bird too – trapped in a bad relationship with a useless boyfriend who has a vague plan of turning manure into an energy source while she supports them both by working at a hostess bar and hating every second of it. Tadao feels trapped in a hundred different ways, by his town, by his parents, by whatever happened in Tokyo, and by his own pent-up frustrations. By this point, he’s a one man powder keg ready to explode and after blowing his final safety caps, tragedy is the only possible outcome.

At Noon begins with its epilogue, but uncomfortably frames its protagonist’s despicable final actions with an odd kind of heroism as his head eclipses the sun leaving him with a radiant halo. He may have satisfied himself in some way, put to rest some of that inner turmoil, but what he’s done is something truly dreadful and driven by an intensely animalistic instinct. At Noon may have something to say about the dangers of frustrated young men with no work to go to, no ambition to follow, and no luck with the ladies but displays an oddly ambivalent attitude to its deranged protagonist that makes for often uncomfortable viewing.


By the way, After Noon has music by Ray Davis of The Kinks!

Unsubbed Trailer: