Shunpu den


10-Nov-2020 15:31

Nikkatsu’s stock-in-trade at the time was (“no-nationality action,” or “borderless action”), a subgenre that sought to downplay cultural, geographic and temporal specificity in order to better target global audiences, and in many ways Suzuki proved an ideal chameleon for the job.

His yakuza films pull as much from American movie lore as they do from sources within his own country’s cultural legacy, staging chain-smoking hired killers and saucy femme fatales within Kabuki-like tableaux and familiar Japanese storytelling contexts, meanwhile setting it all to fizzy pop tunes.

Meanwhile, with the assistance of longtime production design collaborator Takeo Kimura, tawdry studio-built sets were embraced for their flimsiness, and it became a trend for Suzuki to disassemble them in the climaxes of his films so that his characters were suddenly adrift in two-dimensional color fields.

The film is mainly an excuse to stage an escalating series of goofy musical numbers and over-the-top fight scenes.



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