The one trouble that I see with this film is that it has distinct rough edges in the narrative writing. By and large Konami Fumio, Osada Noriot, and filmmaker Fukasaku Kinji penned a terrific screenplay boasting an engaging, compelling story, and all the beats and ideas are there. The connective threads between those beats and ideas, however, are sometimes fuzzy and indistinct, leaving a bit to be desired. There is a logical progression, yet through to the end that progression is not always fully fleshed out, so in ways big and small it may feel as if the plot is making less convincing hops of Movie Magic to advance. With just a little more time spent on the screenplay developing the characters, the relationships between them, and the plot, this would have risen even higher in my estimation.
With that having been said, though, 'Japan organized crime boss' is splendidly sharp in every other regard, and for that matter even better than I may have expected. It's a crime flick superbly balanced between quieter dramatic scenes, action-ready sequences of violence, and slight thriller airs, boasting meaningful themes and eliciting earnest feelings. Exciting and entertaining as it may be at times, ultimately this is a rather downbeat feature as notions presented early on grow more emphatic in due course: Tsukamoto is released from prison and seems unenthusiastic about continuing to be involved with yakuza, yet he is drawn back in all the same amidst bitter rivalries, ugly fights, and hit jobs that leave no one untouched. There are times when I'm reminded of 'The godfather' to come a few years later, not only in terms of the kindred subject matter but also the bigger underlying thoughts and general vibes, and I think that's surely speaks well to Fukasaku and his collaborators.
While I think the writing may have benefited from a smidgen more refinement, the story is otherwise solid and absorbing, with excellent characters and rich scene writing. Exposition in the first few minutes is kind of unwieldy as figures are introduced in a rush, but thereafter the pacing and plot development are just fine; at points it may come across that the violence among the feuding clans is shortchanged as we get mere flashes, but as later instances are more prolonged and upfront, we must be glad that not all of it is given the same extensive treatment. Fukasaku's direction is unfailingly strong in realizing the tableau with bold yet nuanced tones, and the acting is just as fantastic. Not to discount anyone else on hand, but Tsuruta Koji definitely stands out most as Tsukamoto, not just because of his prominence but for the poise and often subtle emotional depth that he brings to the role. I think it's quite a pleasure to watch Tsuruta, really, in a manner that isn't true of all actors.
The sets and filming locations are great, and the costume design crisp and vivid. The stunts, effects, and action sequences are plainly superb, and Tanaka Osamu's editing seems especially tight to me as it helps to sustain the vitality of the proceedings. When all is said and done I really like 'Japan organized crime boss,' and it strikes some extra potent notes at various points throughout its ninety-seven minutes. Just as much to the point, for a filmmaker whose oeuvre ranges from yakuza pictures, to space operas, to fantasy adventure, to apocalyptic drama, I think this again illustrates Fukasaku's versatility. I repeat that I wish the writing were more polished, but even with some slight weak spots, much more than not the sum total is enjoyable and satisfying. Unless one has a specific impetus to watch there's not necessarily a need to go out of one's way for it, but if you do have the chance to watch then I think this is well worth checking out.
With that having been said, though, 'Japan organized crime boss' is splendidly sharp in every other regard, and for that matter even better than I may have expected. It's a crime flick superbly balanced between quieter dramatic scenes, action-ready sequences of violence, and slight thriller airs, boasting meaningful themes and eliciting earnest feelings. Exciting and entertaining as it may be at times, ultimately this is a rather downbeat feature as notions presented early on grow more emphatic in due course: Tsukamoto is released from prison and seems unenthusiastic about continuing to be involved with yakuza, yet he is drawn back in all the same amidst bitter rivalries, ugly fights, and hit jobs that leave no one untouched. There are times when I'm reminded of 'The godfather' to come a few years later, not only in terms of the kindred subject matter but also the bigger underlying thoughts and general vibes, and I think that's surely speaks well to Fukasaku and his collaborators.
While I think the writing may have benefited from a smidgen more refinement, the story is otherwise solid and absorbing, with excellent characters and rich scene writing. Exposition in the first few minutes is kind of unwieldy as figures are introduced in a rush, but thereafter the pacing and plot development are just fine; at points it may come across that the violence among the feuding clans is shortchanged as we get mere flashes, but as later instances are more prolonged and upfront, we must be glad that not all of it is given the same extensive treatment. Fukasaku's direction is unfailingly strong in realizing the tableau with bold yet nuanced tones, and the acting is just as fantastic. Not to discount anyone else on hand, but Tsuruta Koji definitely stands out most as Tsukamoto, not just because of his prominence but for the poise and often subtle emotional depth that he brings to the role. I think it's quite a pleasure to watch Tsuruta, really, in a manner that isn't true of all actors.
The sets and filming locations are great, and the costume design crisp and vivid. The stunts, effects, and action sequences are plainly superb, and Tanaka Osamu's editing seems especially tight to me as it helps to sustain the vitality of the proceedings. When all is said and done I really like 'Japan organized crime boss,' and it strikes some extra potent notes at various points throughout its ninety-seven minutes. Just as much to the point, for a filmmaker whose oeuvre ranges from yakuza pictures, to space operas, to fantasy adventure, to apocalyptic drama, I think this again illustrates Fukasaku's versatility. I repeat that I wish the writing were more polished, but even with some slight weak spots, much more than not the sum total is enjoyable and satisfying. Unless one has a specific impetus to watch there's not necessarily a need to go out of one's way for it, but if you do have the chance to watch then I think this is well worth checking out.
