Survival Family (サバイバルファミリー, Shinobu Yaguchi, 2017)

survival family posterModern life is full of conveniences, but perhaps they come at a price. Shinobu Yaguchi has made something of a career out of showing the various ways nice people can come together to overcome their problems, but as the problem in Survival Family (サバイバルファミリー) is post-apocalyptic dystopia, being nice might not be the best way to solve it. Nevertheless, the Suzukis can’t help trying as they deal with the cracks already present in their relationships whilst trying to figure out a way to survive in the new, post-electric world.

Receiving a package from grandpa fills the Suzukis with horror more than gratitude. Mum Mitsue (Eri Fukatsu) can’t bring herself to cut the head off a fish and the sight of the giant bug that crawls out of the lettuce is just too much to bear. Her teenage daughter, Yui (Wakana Aoi), is not very excited either, tapping her smartphone with her fake nails, while her son Kenji (Yuki Izumisawa) spends all his time alone in his room with headphones permanently attached. Mr. Suzuki, Yoshiyuki (Fumiyo Kohinata) – the family patriarch, is a typical salaryman, obsessed with work and often in bed early.

All that changes one day when Yoshiyuki’s alarm clock does not go off. There’s been a power outage – nothing works, not the TV, not the phone, not even the tower block’s elevator. Being the salaryman champ he is, Yoshiyuki tries to make it into to work in other ways but the power’s out across the city and there’s nothing to be done. Everyone is sure the power will come back on soon, but days pass with the consequences only increasing as supermarket shelves become bare and water frighteningly scarce. After his boss decides to take his chances in the mountains and a neighbour dies as a direct result of the ongoing power shortage, Yoshihyuki decides to take the family on the road to find Mitsue’s country bumpkin father in the hope that he will have a better idea of how to survive this brave new world.

Yaguchi is quick to remind us all of the ways electricity defines our lives, even if we’ve begun to forget them. Not only is it a question of mobile phones being out and lifts being out of order, but gas appliances are also electric ignition as are the pumps which drive the water system. So used to the constant stream of electricity, no one quite realises what its absence means hence Yoshiyuki’s big idea is to get a plane from Haneda airport. Ridiculous as it may seem, he’s not the only one to have underestimated the part electricity plays in flight and the aviation industry as the airport is swamped by people trying to escape the rapidly disintegrating city. Credit cards no longer work leading to long checkout lines as the old ladies with their abacuses make a startling return to checkouts while bemused shoppers attempt to use the ATM machine to get more cash.

Cash itself still has worth, at least for a time. Eventually the barter system takes over as food and water become top price commodities. A very flash looking man tries to trade genuine Rolex gold watch and later the keys to his Maserati for food but is roundly informed that none of his hard won prizes is worth anything in this new back to basics era. Thanks to Mitsue’s housewife skills of frugality and haggling, the family are able to get themselves a small stockplie of resources but find themselves tested when the less fortunate ask them for help.

The crisis brings out both the best and the worst in humanity. As the family make their escape from the city on a series of bicycles, they pass a succession of salesmen all upping the price of bottled water by 100% each time. Profiteering is rife as the unscrupulous procure ordinary foodstuffs to be sold for vast amounts of money. Yet the Suzukis rarely find themselves on the wrong side of trickery and even encounter a few kindly souls willing to help them on their journey such as a gang of cycle wear clad survival experts and a very forgiving farmer who takes the family in when they help themselves to one of his escaped pigs (a sequence which allows Yaguchi to go on another Swing Girls-style pig chase only without the slo-mo and classical music).

Forced to reconnect, the family become closer, gradually coming to know and accept each other whilst finding new and unknown talents. Living simply and harmoniously has its charms, ones that don’t necessarily need to disappear if the power ever comes back on. The only certainty is that you can’t survive alone, and who can you count on if you can’t count on family?


Screened as the opening night movie of the Udine Far East Film Festival 2017.

Original trailer (English subtitles)

The Secret of the Telegian (電送人間, Jun Fukuda, 1960)

The-Secret-of-the-Telegian-images-df0ac23f-302b-4e88-8ec7-5423f55f51cPlaced between The H-Man and the Human Vapor, The Secret of the Telegian (電送人間, Denso Ningen) is another in Toho’s series of “mutant” movies in which “enhanced” humans find themselves turning monstrous because of ill-advised scientific endeavours. Like many in the series, Telegian has an ambivalent attitude towards scientific research, both proud and fearful. This might be 1960, but the roots of the threat once again stem back to wartime crimes and the impossibility of trust as a man long thought dead teleports himself out of his fictitious grave to wreak a terrifying and bloody revenge on those who have wronged him.

People running screaming out of the “Cave of Horrors” might not be such an unusual sight but this time it’s not papier-mâché ghosts or fancy tricks which have produced such a reaction but a real life bloody murder. The dead man, Tsukamoto, has the end of a bayonet in his chest and a cryptic letter in his pocket asking him to come to this very spot in order to learn “the truth about what happened 14 years ago”. The police are baffled, as is science journalist Kirioka (Koji Tsuruta) who is excited to discover a strange wire at the crime scene. Eventually, the trail leads to a nationalistic, military themed cabaret bar run by former lieutenant Onishi (Seizaburo Kawazu).

The bar is more or less a front for Onishi’s smuggling operation but what has him worried is that a former associate, Taki (Sachio Sakai), may think that he and another former solider, Takahashi, may have reclaimed some stolen gold and declined to share the proceeds. Onishi, Takahashi, and Taki have all received ominous gold discs which seems to point back to their failed bid to pocket some of the Emperor’s gold during the last days of the war. Charged with looking after a top scientist working on teleportation technology, Onishi decided he’d rather have the cash instead stooping so low as to kill both the researcher, Nikki (Takamaru Sasaki), and one of his subordinates who tried to stop him – Tsudo (Tadao Nakamaru). The gang were interrupted stealing the gold but went back a year later only to find the bodies and the treasure vanished without a trace.

Tsudo, now living under an alias, is hellbent on revenge not only against the men who left him for dead but indirectly against their entrenched treacheries as betrayers of their duty, country, and morality. Unlike the the villain of The Invisible Man Vs Human Fly, Tsudo is not among those who feel themselves betrayed or abandoned by their country, left out in the cold in the new post-war world, but one who has a deep seated need to make those who’ve wronged him pay for their treachery. Onishi’s strange militarism themed bar only adds insult to injury given his extremely unpatriotic conduct, though it is perhaps in keeping with the traditionally opportunist nature of nationalists throughout history.

Despite the familiar setup, the science takes a back seat as Fukuda pushes the procedural over the sci-fi and so it remains unclear to what extent, if any, the presence of the teleportation equipment is responsible for Tsudo’s strange behaviour. The teleporting Tsudo is, it has to be said, an odd man. Turning up to complain about late deliveries of the refrigeration equipment he needs for the special metals involved in the experiments,  Tsudo’s manner is creepy in the extreme, robotic yet somehow malevolent. Predictably he develops a fondness for the saleswoman, Akiko (Yumi Shirakawa), who coincidentally lives near to the first murder victim and also becomes the love interest of intrepid reporter Kirioka.

Fukuda keeps things simple over all, stopping to pay an extensive homage to Jacques Tourneur’s Cat People, though there’s a wry sense of humour at play in the bizarre fairground beginning and odd production elements such as the incongruous club and its dancing girls who are, ironically enough, entirely painted in gold. Eiji Tsuburaya’s involvement is largely limited to the transportation effect which is extremely impressive in its execution and has an appropriately unsettling feeling. Not quite as coherent as other examples of its genre, The Secret of the Telegian has a slight tonal oddity in its almost nationalistic discussion of false nationalism, literally taking aim at those who preach patriotism yet cynically betray their country, robbing it not just literally but spiritually. Even so, Fukuda’s take on the mutant formula has enough tongue in cheek humour and sci-fi inflected drama to keep most genre fans happy.


Original trailer (no subtitles)

Latitude Zero (緯度0大作戦, Ishiro Honda, 1969)

latitude zero1969. Man lands on the moon, the cold war is in full swing, and Star Trek is cancelled prompting a mass write-in campaign from devoted sci-fi enthusiasts across America. The tide was also turning politically as the aforementioned TV series’ utopianism came to gain ground among liberal thinking people who rose up to oppose war, racial discrimination and sexism. It was in this year that Godzilla creators Ishiro Honda and Eiji Tsuburaya brought their talents to America with a very contemporary take on science fiction in Latitude Zero (緯度0大作戦, Ido Zero Daisakusen). Starring Hollywood legend Joseph Cotten, Latitude Zero gives Jules Verne a new look for the ‘60s filled with solid gold hotpants and bulletproof spray tan.

International scientists Dr. Ken Tashiro (Akira Takarada) and Dr. Jules Masson (Masumi Okada) are in the middle of a bathysphere alongside American reporter Perry Lawton (Richard Jaeckel) when a volcano suddenly erupts. Rescued by a passing sub, the team soon notice there’s something very strange about this serendipitous crew. To begin with, the doctor treating their injuries is a svelte young blonde woman in a skimpy outfit, and then there’s that plaque on the bridge which says the boat was launched in 1805, and why won’t Captain McKenzie (Joseph Cotten) tell them which country this very expensive looking rig belongs to?

All these questions will be answered in due course but the major revelation concerns the futuristic city of Latitude Zero – a secret underwater world where top scientists and other skilled people who have been “disappeared” from the surface conduct important research free of political constraints. Despite the peace and love atmosphere, Latitude Zero is not without its villains as proved by exile Malec (Cesar Romero), McKenzie’s arch nemesis who has set out to kidnap a prominent Japanese scientist before he can make his way to the city. Malec is hellbent on taking McKenzie down and has drifted over to the scientific dark side by conducting brain transplant experiments to create his own army of bizarre creatures to do his bidding.

There may be a cold war going on but Latitude Zero is more or less neutral when it comes to its position on science and scientists though when push comes to shove it leans towards negative. Malec, played by Batman’s Ceasar Romero, is a moustache twirling villain of the highest order who will even stoop to transplanting the brain of his own lieutenant into a lion as well as making other strange creatures like giant rats and weird bats to try and destroy McKenzie’s enterprises yet those enterprises are the entire reason for the existence of Latitude Zero. Towards the end of the adventure, Lawton points out to McKenzie that his world is essentially selfish, stealing all the best minds for his underwater paradise and secreting their discoveries away rather than sharing them with the the surface. McKenzie sympathises but deflects his criticism with the justification that mankind is currently too volatile and divided to take part in his project, though they do try to drip feed the essentials all in the name of making the world a better place.

Lawton further shows himself up by trying to loot Latitude Zero which has an abundant supply of diamonds it barely knows what to do with. What is does with them is experiment – jewels are worthless baubles here, the value of the diamonds is purely practical. Similarly, they have a taste for solid gold clothing which might explain the skimpiness of their outfits were it not for the fact the precious metal holds no other value than being stylish.

Unlike other subsequent US co-productions such as Fukasaku’s Virus, Latitude Zero was filmed in English with the Japanese cast providing their own English language dialogue (with various degrees of success). A second cut running fifteen minutes shorter was later prepared for the Japanese market with the entire cast dubbed back into Japanese and dropping McKenzie’s often unnecessary voice over. Given a relatively high budget, Honda and Tsuburaya once again bring their unique production design to life with intricate model shots and analogue effects complete with a selection of furry monsters even if they’re operating on a level that owes much more to Star Trek than Godzilla. It’s all very silly and extremely camp but good clean fun with a slight layer of political subversiveness which displays a noted ambivalence to the neutrality of utopia even whilst hoping for the day when the world will finally be mature enough to pursue its scientific destiny without polarised politics getting in the way.


Original trailer (English version)

Mothra (モスラ, Ishiro Honda, 1961)

mothra-poster.jpgJapan’s kaiju movies have an interesting relationship with their monstrous protagonists. Godzilla, while causing mass devastation and terror, can hardly be blamed for its actions. Humans polluted its world with all powerful nuclear weapons, woke it up, and then responded harshly to its attempts to complain. Godzilla is only ever Godzilla, acting naturally without malevolence, merely trying to live alongside destructive forces. No creature in the Toho canon embodies this theme better than Godzilla’s sometime foe, Mothra. Released in 1961, Mothra does not abandon the genre’s anti-nuclear stance, but steps away from it slightly to examine another great 20th century taboo – colonialism and the exploitation both of nature and of native peoples. Weighty themes aside, Mothra is also among the most family friendly of the Toho tokusatsu movies in its broadly comic approach starring well known comedian Frankie Sakai.

When a naval vessel is caught up in a typhoon and wrecked, the crew is thought lost but against the odds a small number of survivors is discovered in a radiation heavy area previously thought to be uninhabited. The rescued men claim they owe their existence to a strange new species of mini-humans living deep in the forest. This is an awkward discovery because the islands had recently been used for testing nuclear weapons and have been ruled permanently uninhabitable. The government of the country which conducted the tests, Rolisica, orders an investigation and teams up with a group of Japanese scientists to verify the claims.

Of course, the original story of the survivors was already a media sensation and so intrepid “snapping turtle” reporter Zen (Frankie Sakai) and his photographer Michi (Kyoko Kagawa) are hot on the trail. Zen is something of an embarrassment to his bosses but manages to bamboozle his way into the scientific expedition by stowing away on their boat and then putting on one of their hazmat suits to blend in before anyone notices him. Linguist Chujo (Hiroshi Koizumi) gets himself into trouble but is saved by two little people of the island who communicate in an oddly choral language. Unfortunately, the Rolisicans, led by Captain Nelson (Jerry Ito), decide the helpful little creatures are useful “samples” and intend to kidnap them to experiment on. Refusing to give up despite the protestations of the Japanese contingent, Nelson only agrees to release the pair when the male islanders surround them and start banging drums in an intimidating manner.

The colonial narrative is clear as the Rolisicans never stop to consider the islanders as living creatures but only as an exploitable resource. Nelson heads back later and scoops up the two little ladies (committing colonial genocide in the process) but on his return to Japan his intentions are less scientific than financial as he immediately begins putting his new conquests on show. The island ladies (played by the twins from the popular group The Peanuts, Yumi and Emi Ito) are installed in a floating mini carriage and dropped on stage where they are forced to sing and dance for an appreciative audience in attendance to gorp.

Zen and Michi may be members of the problematic press who’ve dubbed the kindnapped islanders the “Tiny Beauties” and helped Nelson achieve his goals but they stand squarely behind the pair and, along with linguist Chujo and his little brother Shinji (Masamitsu Tayama), continue to work on a way to rescue the Tiny Beauties and send them home. The Tiny Beauties, however, aren’t particularly worried because they know “Mothra” is coming to save them, though they feel a bit sad for Japan and especially for the nice people like Zen, Michi,  Chujo, and Shinji because Mothra doesn’t know right from wrong or have much thought process at all. 100% goal orientated, Mothra’s only concern is that two of its charges are in trouble and need rescuing. It will stop at nothing to retreive them and bring them home no matter what obstacles may be standing in the way.

The island people worship Mothra like a god though with oddly Christian imagery of crosses and bells. Like many of Toho’s other “monsters” it is neither good or bad, in a sense, but simply exists as it is. Its purpose is to defend its people, which it does to the best of its ability. It has no desire to attack or destroy, but simply to protect and defend. The villain is humanity, or more precisely Rolisica whose colonial exploits have a dark and tyrannical quality as they try to insist the islands are uninhabited despite the evidence and then set about exploiting the resources with no thought to the islanders’ wellbeing. The Japanese are broadly the good guys who’ve learned their lesson with this sort of thing and very much do not approve of the Rolisicans’ actions but they are also the people buying the tickets to see the Tiny Beauties and putting them on the front pages of the newspapers. Nevertheless, things can conclude happily when people start respecting the rights of other nations on an equal footing and accepting the validity of their rights and beliefs even if they include giant marauding moth gods.


Original trailer (no subtitles)

Battle in Outer Space (宇宙大戦争, Ishiro Honda, 1959)

battle in outer spaceIshiro Honda returns to outer space after The Mysterians with another dose of alien paranoia in the SFX heavy Battle in Outer Space (宇宙大戦争, Uchu Daisenso). Where many other films of the period had a much more ambivalent attitude to scientific endeavour, Battle in Outer Space paints the science guys as the thin white line that stands between us and annihilation by invading forces wielding superior technology. Far from the force which destroys us, science is our salvation and the skill we must improve in order to defend ourselves from hitherto unknown threats.

In 1965 Japan is a hit in space. Having launched their first space station, things are going well but after it is destroyed by flying saucers there is cause for concern. The problem intensifies as strange events occur across the Earth with bridges suddenly collapsing, boats being lifted from the sea and the waters of Venice conspiring to drown the town. World leaders gather in Tokyo to come up with a plan but one of the scientists’ key assets, Iranian professor Dr. Ahmed, is possessed by the Natalians via their high-tech remote control radio waves and procedeeds to do their dirty work for them. The Natalians will settle for nothing less than enslavement of the entire planet and have even set up a base on the moon to make it happen! Time to put those shiny new spaceships to good use!

Scientists may be the heroes of this particular story but the scientific basis for their actions is just as silly as your average B-movie. According to our top professor, the Natalians’ anti-gravity shenanigans can be put a stop to by means of a freeze ray – gravity is, of course, caused by the movement of atoms which is impeded by cold hence the freeze ray. A likely story, but it’s the best they’ve got. The other major problem is that the Natalians are able to possess various people and force them to do their bidding, apparently through “radio waves”. Less about the enemy within, the possibility of becoming a Natalian sleeper agent is more plot device than serious philosophical discussion.

Battle in Outer Space is, in this sense at least, one of the most straightforward of Toho’s B-movie leaning SFX extravaganzas. There is little hidden message here bar the importance of international collaboration as the whole world comes together to fight the alien threat – Middle Eastern and Indian scientists are at the forefront of research and Japan leads the charge flanked by Americans one side and Russians on the other.

Our intrepid band of scientists are the vanguard sent to see off the Natalian threat by jetting off into space and fighting them in their own territory. Honda and Tsuburaya outdo themselves with the special effects which are pretty astounding for 1959 making use of large scale models and matt painting. The scientists travel to the moon to look for the Natalians’ base only to encounter them in space and engage in exciting dogfight. Eventually landing they meet the Natalians face to face and discover they are very tiny and sort of cute but also hellbent on enslaving the Earth. Engaging them in a firefight using heat rays and laser guns, the scientists manage to escape but the Natalian threat follows them all the way back to Tokyo. In true Toho fashion, buildings are destroyed and people knocked flying as the Natalians take the city but our brainy scientists have thought of that and so the aliens have a whole barrage of heat ray guns to welcome them to Earth.

Battle in Outer Space might not have an awful lot going on in the background, but it makes up for it with sheer spectacle both in its effects and in production design. The Natalians are a scary bunch, until you actually meet them, but this time science is on our side as the good guys manage to figure out a way to save the Earth rather than destroy it through fear and angst. In the end it is determination and togetherness which finally lets the Natalians know humanity is not a good prospect for colonisation, only by coming together and making the best of their collective strengths is humanity able to triumph over a superior force – sadly a still timely lesson.


Original trailer (no subtitles)

The H-Man (美女と液体人間, Ishiro Honda, 1958)

H-man
Toho produced a steady stream of science fiction movies in the ‘50s, each with some harsh words directed at irresponsible scientists whose discoveries place the whole world in peril. The H-man (美女と液体人間, Bijo to Ekitainingen), arriving in 1958, finds the genre at something of an interesting juncture but once again casts nuclear technology as the great evil, corrupting and eroding humanity with a barely understood power. Science may have conjured up the child which will one day destroy us, robbing mankind of its place as the dominant species. Still, we’ve never particularly needed science to destroy ourselves and so this particularly creepy mystery takes on a procedural bent infused with classic noir tropes and filled with the seedier elements of city life from gangsters and the drugs trade to put upon show girls with lousy boyfriends who land them in unexpected trouble.

Misaki (Hisaya Itou) is not a man who would likely have been remembered. A petty gangster on the fringes of the criminal underworld, just trying to get by in the gradually improving post-war economy, he’s one of many who might have found himself on the wrong side of a gangland battle and wound up just another name in a file. However, Misaki gets himself noticed by disappearing in the middle of a drugs heist leaving all of his clothes behind. The police immediatetely start hassling his cabaret singer girlfriend, Chikako (Yumi Shirakawa), who knows absolutely nothing but is deeply worried about what may have happened to her no good boyfriend. The police are still working on the assumption Misaki has skipped town, but a rogue professor, Masada (Kenji Sahara), thinks the disappearance may be linked to a strange nuclear incident…..

Perhaps lacking in hard science, the H-Man posits that radiation poisoning can fundamentally change the molecular structure of a living being, rendering it a kind of sentient sludge. This particular hypothesis is effectively demonstrated by doing some very unpleasant looking things to a frog but it seems humans too can be broken down into their component parts to become an all powerful liquid being. The original outbreak is thought to have occurred on a boat out at sea and the scientists still haven’t figured out why the creature has come back to Tokyo though their worst fear is that the H-man, as they’re calling him, retains some of his original memories and has tried to return “home” for whatever reason.

The sludge monster seeps and crawls, working its way in where it isn’t wanted but finally rematerialises in humanoid form to do its deadly business. Once again handled by Eiji Tsuburaya, the effects work is extraordinary as the genuinely creepy slime makes its slow motion assault before fire breaks out on water in an attempt to eradicate the flickering figures of the newly reformed H-men. The scientists think they’ve come up with a way to stop the monstrous threat, but they can’t guarantee there will never be another – think what might happen in a world covered in radioactivity! The H-man may just be another stop in human evolution.

Despite the scientists’ passionate attempts to convince them, the police remain reluctant to consider such an outlandish solution, preferring to work the gangland angle in the hopes of taking out the local drug dealers. The drug lord subplot is just that, but Misaki most definitely inhabited the seamier side of the post-war world with its seedy bars and petty crooks lurking in the shadows, pistols at the ready under their mud splattered macs. Chikako never quite becomes the generic “woman in peril” despite being directly referenced in the Japanese title, though she is eventually kidnapped by very human villains, finding herself at the mercy of violent criminality rather than rogue science. Science wants to save her, Masada has fallen in love, but their relationship is a subtle and mostly one sided one as Chikako remains preoccupied over the fate of the still missing Misaki.

Even amidst the fear and chaos, Honda finds room for a little song and dance with Chikako allowed to sing a few numbers at the bar while the other girls dance around in risqué outfits. The H-man may be another post-war anti-nuke picture from the studio which brought you Godzilla but its target is wider. Nuclear technology is not only dangerous and unpredictable, it has already changed us, corrupting body and soul. The H-men may very well be that which comes after us, but if that is the case it is we ourselves who have sown the seeds of our destruction in allowing our fiery children to break free of our control.


Original trailer (no subtitles)

Crows Explode (クローズ EXPLODE, Toshiaki Toyoda, 2014)

crows explodeToshiaki Toyoda made an auteurst name for himself at the tail end of the ‘90s with a series of artfully composed youth dramas centring on male alienation and cultural displacement. Attempting to move beyond the world of adolescent rage by embracing Japan’s most representative genre, the family drama, in the literary adaptation Hanging Garden, Toyoda’s career hit a snag. Despite the film’s favourable reception with critics, a public drugs scandal cost Toyoda his career in Japan’s extremely strict entertainment industry. Since his return to filmmaking in 2009 Toyoda has continued to branch out but 2014’s Crows Explode (クローズ EXPLODE) throws him back into that early world of repressed male energy as internalised rage and frustration produce externalised violence. Picking up the Crows franchise where Takashi Miike left off, Toyoda brings his unique visual sensiblilty to the material, swapping Miike’s irony for something with more grit but losing the deadpan depth of its adolescent posturing in the process.

The old gods have fallen and new ones must rise. Tough guys graduate, but the battlefields of Suzuran High endure eternally. Suzuran is the ultimate in delinquent schools. None of the boys here are under any misapprehension that the adult world holds any promise for them. Many will drop out without completing high school, condemning themselves to a precarious life of continually uncertain, low paid employment, but even those who do manage to leave with a certificate will be heading into another competition to find a steady job in economically straightened times.

That is, those of them who don’t end up in a gang. The thing at Suzuran is that your fate is determined by your fists. Boys roam the halls looking for a fight, each vowing to become the top dog and de facto leader by proving themselves the best and the strongest of the strapping young men all vying for the title. A new challenger arrives in the form of transfer student, Kaburagi (Masahiro Higashide), whose intense energy upsets the dynamic between presumed number one Goura (Yuya Yagira) and his challenger Takagi (Kenzo) but Kagami (Taichi Saotome), the loner son of a fallen yakuza, seems further set to pose a threat in this knife edge environment.

Toyoda has some interesting points to make about the legacy of violence and the importance of father son relationships as each of these young men is reacting in some sense against a father or just his father’s world. Kaburagi, the film’s protagonist, is nursing a deep wound of double abandonment after witnessing his father’s death and then being deposited in a foster home by his sorrowful mother who promises to return for him soon but makes do with occasional visits and monetary gifts. Kaburagi is an angry young man and like many angry young men, he is eager not to become his father – a situation complicated by the fact that his father was a prize fighter who died in the ring.

His “mirror” Kagami, has a similar problem only his father died in a yakuza turf war. A surrogate presents himself in the form of former Suzuran scrapper “Jarhead Ken” (Kyosuke Yabe), now an ex-yakuza helping out at a friend’s second hand car dealership but unable to escape gangland troubles when it emerges Kagami’s clan are intent on acquiring it in order to turn the place into some kind of “entertainment complex”. Ken, a tough guy but soft hearted, has a talent for paternalism which he turns on the fatherless little boy of the car dealership’s owner to whom he teaches the importance of a hefty punch but also of friendship and loyalty.

Miike’s world was a surreal one, inflected with a wry middle aged eye which sees all of this teenage rambunctiousness for the ridiculous posturing it really is. Toyoda’s attempts to be more in the moment, experiencing the adolescent angst with all of its immediate force but unlike his early protagonists the boys of Suzuran are forced to “explode” rendering that central tenet of repressed anger redundant. Externalising the internal war somehow makes it much less interesting as boys trade blows, mindlessly trying to work out a mental struggle which their ill drawn backgrounds will not support.

The environment which the boys inhabit is a grey and hopeless one. Toyoda paints it with his characteristic visual flair, returning to his trademark sequences of slow motion coupled with indie music, but his energy is very different from Miike’s and its more contemplative rhythm never quite gels with the pugilistic fury of the source material even as it gives way to his more expressionistic imagery. The franchise is feeling a little punch drunk by this point, and Toyoda finds it in a particular puddle of teenage malaise. Still, the fists fly and the boys of Suzuran rise and fall as always providing enough self consciously cool action to sustain interest despite the otherwise insubstantial quality.


International trailer (English subtitles)