Beyond American films, Japanese cinema, through its “Yakuza” films, has played a significant role in expanding and refining the “Gangster” genre with its distinctive style, cultural authenticity, thematic richness, and morally complex narratives. “Yakuza” is the name given to Japan’s organized criminal syndicate, which has been functioning for around 300 years. The Yakuzas are known for their strict code of conduct, systematic hierarchal structure, organized operations, and execution of several unconventional practices, such as “Yubitsume,” or the amputation of the left little finger. They are also recognized by their heavily tattooed bodies, which indicates their status as Yakuza.
The fascination among the notorious Yakuzas has led to a subgenre of films about them that frequently examine themes of honor, loyalty, and deception inside the ranks of the Yakuza, highlighting the intricate relationships and power struggles that characterize their world. The heyday of the Yakuza films occurred in the 1960s when filmmakers like Seijun Suzuki, Kinji Fukasaku, Hideo Gosha, etc. captured the cultural and societal difficulties of post-war Japan in films that expertly combined realism, style, and emotional depth. Despite a dip in popularity in the mid-70s, the genre experienced a renaissance in the 1990s, mostly as a result of the films of directors such as Takashi Miike and Takeshi Kitano, who made Yakuza films that were exceedingly violent, groundbreaking, and genre-pushing. However, the Yakuza films have not received the acclaim they deserve and are relatively unknown in the West, which prompted me to compile this list. So, before we begin, here are some of the honorable mentions below:
- 25. Outrage (2010) – Takeshi Kitano
- 24. Detective Bureau 2-3: Go To Hell Bastards (1963) – Seijun Suzuki
- 23. Hell Dogs (2022) – Masato Harada
- 22. Boiling Point (1990) – Takeshi Kitano
- 21. Graveyard of Honor (1975) – Kinji Fukasaku
Below is the curated list of the best 20 Yakuza films worth your attention.
20. Massacre Gun (1967) – Yasuharu Hasebe
First on the list is Yasahuru Hasebe’s directorial debut, Massacre Gun, which is a well-executed and enjoyable viewing experience despite its conventional storyline. Kuroda (Jo Shishido) is a mob hitman who turns against his Yakuza boss, Azakawa (Takashi Kanda), after being ordered to assassinate his lover. Together with his similarly wronged brothers, the feisty and impatient Eiji (Tatsuya Fuji) and an aspiring boxer Saburo (Jirō Okazaki), the three get embroiled in a full-scale war against the powerful Azakawa in which no one is willing to stop until one side wins.
The film is a cat-and-mouse game between the Kuroda brothers and Yakuza boss Akazawa, and it is executed effectively, with each side attempting to outwit and outpower the other. For example, the brothers raid every possible joint belonging to Akazawa, to which Akazawa responds by killing one of the Kuroda brothers’ aids and sending a coffin to their house, which contains a person and a ticking time bomb. Eventually, these back-and-forth battles on both sides result in the deaths of characters we care about, preparing us for a high-stakes finale. The film’s high point is its climactic action sequence in the middle of the highway. It is an incredibly well-choreographed and carried-out sequence and will remind you of the shootout sequence from Michael Mann’s masterpiece Heat (1995). Moreover, the director skillfully utilizes the subplot involving Ryuichi and his former mentor Shirasaka (Hideaki Nitani), who were once friends while working for Akazawa but have since become enemies due to circumstances, to heighten the film’s emotional impact, especially towards the end. Despite the violence and dark plot, the film has a cool, laid-back vibe thanks to the stylish shadowy visuals, low-key jazz score, and understated performances from the cast, especially the always dependable Jo Shishido. Massacre Gun is the ideal movie to begin this list.
19. Rainy Dog (1997) – Takashi Miike
Rainy Dog, directed by Takeshi Miike, is an exquisitely crafted neo-noir gangster film that is incredibly bleak, atmospheric, and thoughtfully paced and will remind you of classics like Jean Pierre Melville’s Le Samourai (1967) or Luc Besson’s Leon: The Professional (1994). Yuuji (Show Aikawa), a Yakuza thug who has been stranded in Taipei and sacked from his Japanese syndicate, starts working for another local boss as a pay-per-hit assassin, killing members of other syndicates. His solitary life becomes complicated when a woman he slept with years ago suddenly returns and drops off his son, Chen (Jianqin He), at his house before leaving. Yuji and the prostitute Lily (Xianmei Chen), whom he frequents, create a close bond and develop a relationship. However, Lily, Yuuji, and his kid soon find themselves on the run after Yuuji murders a man who turns out to be the brother of an unhinged Yakuza gangster who is hunting for their life.
The plot is straightforward, with a few unexpected twists that succeed in its execution (the ending, a strange kid forced on Yujji that follows him everywhere, and the sudden spurts of violence reminiscent of Kitano’s flicks). Despite Takeshi Miike’s unsentimental approach, the dynamics between Yuuji, Chen, and Lily and the progression of their relationship provide surprisingly effective emotional depth to the film. As a result, these characters serve as vehicles for the film’s exploration of themes like alienation, unlikely bonds, and fatherhood. There are some genuinely touching moments between the three, most notably when Chen discovers a scooter buried in the sand on the beach while fleeing from the syndicate, and the trio joyfully dig it out and ride it away. Furthermore, Rainy Dog benefits from the melancholy tone, which Miike and his cinematographer brilliantly create by utilizing Taipei—the city’s dense population and incessant downpour—to great effect, complementing the film’s examination of isolation, redemption, and the human condition. Unlike his most well-known films, which feature extreme gore, sadism, and hyperkinetic surrealism, Rainy Dog showcases Takeshi Miike’s more subdued style. While it may not be his finest work, it contains sufficient elements to keep the audience engaged and captivated during its 94-minute, crisp runtime.
18. Tattooed Life (1965) – Seijun Suzuki
Tattooed Life is an underappreciated gem in Seijun Suzuki’s legendary filmography, offering a perfect blend of Yakuza action, drama, and romance. The plot revolves around Tetsu (Hideki Takahashi), a yakuza hitman, and his younger artistic brother, Kenji (Kotobuki Hananomoto), who are on the run after the latter murders a yakuza boss in a double cross to spare his brother’s life. They find refuge in a little coastal town, where they acclimate to life, land a labor job for a tunnel project, fall in love, and lie low for a while. However, their past catches up to them, resulting in severe repercussions.
The movie examines the aftereffects of a criminal lifestyle and depicts that your past will follow you wherever you go. Suzuki deftly handles the film’s emotional elements, including the two love stories involving Tetsu and Kenji—both endearing and sincere. However, the film truly shines and remains cohesive because of the strong brotherly bond between the two characters, made possible by the actors’ genuine chemistry. As the story shifts to the coastal town, the film becomes a sedate drama in the second act. Suzuki does a great job of creating a world that draws the audience into the setting, and as the brothers adjust to life there, we can’t help but feel sad for them because their dream life is finally within reach, but they must face the reality that their past makes it impossible. In Tattooed Life’s last ten minutes, Suzuki demonstrates his directing chops and reminds everyone why he’s still highly regarded. The climactic action sequence is among the best in the genre because of outstanding action choreography, contrasting color schemes, and flawless camera placements—particularly the overhead shot during the scene where Tetsuo is sword fighting with the goons. It’s an oddly satisfying yakuza flick.
17. Yakuza Graveyard (1976) – Kinji Fukasaku
Yakuza Graveyard is a gripping tale of violence and interpersonal deception and a perfect 70s film that captures the realism and grit that the era’s films embodied. Kuroiwa (Tetsuya Watari), a morally ambiguous police officer, is cracking down on illegal Yakuza operations, primarily involving the Nishida and Yamashiro families, using his unorthodox methods that frequently land him in problems with his superiors. He quickly realizes that everyone is corrupt, and politicians are supporting one faction while the police are supporting the other. At the same time, he develops an unusual friendship with a Korean mobster named Iwata (Tatsuo Umemiya), blurring the line between law enforcement and crime, and becomes increasingly enmeshed in this criminal underworld rife with corruption, betrayal, and bloodshed.
Even though Kuroiwa is a vile and hateful character that is hard to root for, the fact that he’s got some sort of code, the genuine friendship he forms with Iwata, and him being a lesser piece of s**t than the other characters in the film makes us somewhat empathize with him in this bleak and nihilistic world that Fukasaku portrays here. The action scenes are flawlessly handled, with every action scene erupting into fisticuffs and flaming bullets, with the camera becoming wobbly and diving into unexpected areas to depict the exploding cruelty. Yakuza Graveyard is a brutally cruel film, and the extra layer of nastiness, the exploration of moral ambiguity, and the blurred lines between good and evil add complexity and nuance to its characters and story. Tetsuya Watari delivers a powerhouse performance as Kuroiwa, a man caught between a rock and a hard place, and the way he pulls off being reckless with uncontrolled masculinity while still being vulnerable with ease is quite remarkable to behold.
16. Violent Cop (1989) – Takeshi Kitano
Violent Cop, directed by Takeshi Kitano, is a Japanese version of Dirty Harry (1971) but is far dirtier, vicious, and pitiless, with a more unhinged lead character than Clint Eastwood’s Harry, and it is the best directorial debut anyone could wish for. Detective Azuma (Takeshi Kitano) is a renegade officer who speaks less and utilizes unconventional and violent methods to deal with criminals. While investigating a string of murders linked to drugs—whose dealers are employed by the Yakuza boss, Nito (Ittoku Kishibe), he discovers that his close friend in the police force, Iwaki (Sei Hiraizumi), is not only complicit but actively supplies drugs from within the force. After learning of Iwaki’s murder, Azuma begins to clamp down on drug dealers and eventually ends up facing Kiyohiro (Hakuryu), a psychotic Yakuza hitman Nito has hired to kill Azuma. What follows is a thrilling game of cat-and-mouse between the two.
Violent Cop features Kitano’s trademark directorial touches, such as static long shots, closeups, deadpan humor, and a laid-back narrative that would later define his style and bring him acclaim. Despite the plot’s simplicity, Kitano does his best and succeeds in not making it predictable by doing something absolutely out of the ordinary or surprising in almost every scene. For example, there’s an exceptionally drawn-out sequence that begins as a simple scenario about police apprehending a man but then transforms into an elaborate chase sequence in which it appears that the man will flee from the cops several times. Another example is a seemingly simple interrogation scene in a pub bathroom where Azuma wants some basic information from a drug dealer, but it quickly escalates when Azuma begins slapping the guy—23 times—and refuses to stop, turning violent. Lastly, there’s the ending, which is equally bizarre, unorthodox, and brutal, with some unexpected developments. Additionally, Kitano’s stoic emotions and long closeup shots of his face create an air of uncertainty, in which we have no idea what he will do next (would he burst into action or stand still and do nothing). Incorporating Kiyosuro, a psychotic hitman who is similarly violent, unpredictable, and prone to erratic behavior (like Azuma), enhances the film’s last act. Kiyosuro makes for a compelling and justified antagonist to Azuma since the two are mirror images of each other.
15. Tokyo Drifter (1966) – Seijun Suzuki
Style takes over the substance in Seijun Suzuki’s highly influential Yakuza thriller, Tokyo Drifter, which inspired filmmakers including Quentin Tarantino, Johnnie To, and Takeshi Kitano. The film begins with Kurata (Ryūji Kita), a Tokyo-based Yakuza boss, disbanding his organization and quitting his criminal life permanently. As a result, his rival kingpin, Otsuka (Hideaki Esumi), sees this as an opportunity to seize Kurata’s business and everything he owns, including his right-hand man, Tetsu (Tetsuya Watari). Tetsu, however, refuses the offer out of loyalty to Kurata, forcing Otsuka to employ the unstoppable Tatsuzo, the “Viper” (Tamio Kawaji), a merciless gun for hire, to kill him. As the Viper pursues his target through the countryside, the agile Phoenix Tetsu becomes suspicious that one of his former allies has betrayed him.
While the film’s plot isn’t particularly original, Suzuki’s use of stylistic elements reminiscent of Sergio Leone’s Westerns and Jean Pierre Melville’s crime flicks makes it worth watching. The use of contrast colors, which Tarantino would later employ in his movies like Kill Bill (2003), is evident here, making it striking and visually appealing. Consider the final climactic action scene, which features everything in white while the characters are dressed entirely in black. Apart from its exceptional action choreography, which is simple and effective, with well-established and easily understood geography, this deliberate creative choice enhances the cinematic style, making the scenes aesthetically engaging and unforgettable. However, all this stylistic bravura could become repetitive if the film is not intellectually and emotionally grounded. The characterization of Tetsuya, the film’s hero, and his struggles with alienation and allegiance expectations is what gives the film its emotional depth. His character traits, such as superb gun abilities, being a nomad, having a calm, laid-back aura, etc., are reminiscent of heroes in Western genre films, making Tetsuya look like he stepped out of a Sergio Leone film. Furthermore, the music, particularly the theme song, contributes significantly to the film’s melancholic tone and highlights Tetsuya’s internal struggles. Tokyo Drifter is low-budget filmmaking at its finest, where everything comes together perfectly, and is one of Seijun Suzuki’s most visually appealing films.
14. Cops Vs. Thugs (1975) – Kinji Fukasaku
While researching the Yakuza life for his next installment of the Battles Without Honor and Humanity series, Kinji Fukasaku came upon a story about how the police and Yakuza could form a harmonious relationship. Consequently, he integrated this concept into his crime thriller, Cops Vs. Thugs, which is densely plotted, morally ambiguous, fast-paced, and endlessly fascinating. A rich waterfront development opportunity presents itself, and the Kawade gang wastes no time using their political connections to grab the land. However, the acting boss of the Ohara gang is also interested in the property and hires crooked detective Tokumatsu Kuno (Bunta Sugawara) to help him hijack the deal. With rival gang relations fraying, it’s only a matter of time before an all-out war breaks out as gangsters, cops, and local politicians fight for control of the city.
Cops vs. Thugs delves into the intricacies of the complicated relationship between criminals and law enforcement, in which everyone appears to have their own notion of honor and justice. The action sequences, like those in other Fukasaku gangster flicks, are gory and nasty, with stabbings, shootouts, and raids shot in a chaotic manner that adds to the film’s realistic and gritty atmosphere. Kuno, who comes from the streets, has found a way to co-exist with the Yakuzas, clamping down on their excesses while allowing business to continue as usual. However, when a hard-hitting detective like Kaida arrives with his college degree and Judo skills and wants to crack down on the Yakuza completely, it makes for an interesting conflict where Kuno must make some tough decisions, culminating in a high-stakes climax scene that concludes the film on a perfect note. Usually, in a conventional setting, the film’s antagonist would be the crooked police officer, Kuno, a terrible husband who works for Hitrotani (Hiroki Matsukata), the head of the Oharu crime family, and acts when coerced. But in Fukasaku’s nihilistic universe, the hero is obviously Kuno and not Kaida. This is because Kuno is someone Fuksasku gravitates towards, having endured hardships since childhood and emerging as a survivor in a world where betrayers, corrupt politicians, assassins, and gangsters are commonplace—something that Kaida is blissfully unaware of.
13. The Wolves (1971) – Hideo Gosha
One of the most overlooked Yakuza films on this list is Hideo Gosha’s The Wolves, a well-refined, immaculately shot, and contemplative work of art that deserves more recognition. After being imprisoned for killing the Kanno gang’s boss, Seji Iwahashi (Tatsuya Nakadai) is released early, only to discover that his former gang has merged with the Kanno family. But with the deep-seated animosity lingering on both sides, how long before the bloodshed resumes?
The film contains all the tropes that one would expect from an engaging gangster film, such as betrayal, greed for power, friendships, loyalty, and revenge. The screenplay, written by Gosha, takes its sweet time establishing the world, the characters, and their dynamics, allowing us to immerse ourselves in the story and develop a sense of connection. The film’s second half is when things really start heating up, with the revenge theme taking center stage and a sense of urgency setting in, thereby making the film more tense and engaging. With a seemingly grim story of Yakuza blood feuds, there’s a depth to these lucid characters that lends gravitas to their machinations. Additionally, the narrative is consistently captivating and is brought to life by the compelling, focused lead performance of Tatsuya Nakadai as the worn-out, flint-edged gangster Iwahashi. Lastly, the impressive score by Masaru Sato and the dark cinematography saturated in color contribute to the film’s somber tone, which complements Gosha’s meditative, layered, and emotionally dense storytelling.
12. Minbo, or the Gentle Art of Japanese Extortion (1992) – Juzo Itami
Minbo, or the Gentle Art of Japanese Extortion, directed by Juzo Itami, is a one-of-a-kind film in this list that satirizes the Yakuzas while also exposing their extortion racket in early 1990s Japan. The film begins with a grand old Japanese hotel vying for the prestigious contract to host a summit meeting of high-ranking international officials. Unfortunately, this hotel is popular among the Yakuza and their favorite target for extortion, as they employ a variety of schemes to con the hotel out of ‘hush money.’ At first, the hotel manager brings in a couple of amateur individuals, such as accountant Suzuki (Yasuo Daichi) and bellhop Wakasugi (Takehiro Murata), but they fail to tame the intimidating Yakuzas. The hotel finds itself in a dire situation where it must get rid of the Yakuza. In a desperate move, the management decides to hire Mahiru Inoue, played by Nobu Kobayashi, a lawyer skilled at dealing with criminals in her own unique way.
An intriguing aspect of this film is its refusal to romanticize the Yakuzas, instead portraying them as realistic as possible, showing that they can be cowards (being afraid of the cops) and also lack honor sometimes (despite their frequent claims to the contrary). Perhaps this was the main reason Juzo Itami was attacked outside his house by Yakuza gangsters after the film’s release and slashed with a sword. These gangsters are also believed to be behind Juzo Itami’s death (they forced him to jump from the apartment roof) after learning that his upcoming movie would also focus more on the Yakuzas.
Several humorous moments exist at the film’s beginning, especially when the two endearing men, Suzuki and Wakasugi, attempt and fail to confront the terrifying Yakuzas. With the arrival of the sassy and street smart Mahiru, who teaches everyone how to deal with the gangsters, the film gains momentum and becomes even more intriguing. What really draws the audience in are the Yakuzas’ increasingly cunning traps for the hotel staff to extort money and Mahiru’s ingenious strategies for dealing with them. Minbo isn’t the best of the director’s works—he also directed Tompopo, The Supermarket Woman, and The Funeral—but I had a great time watching this film.
11. Why Don’t You Play in Hell? (2013) – Sion Sono
The newest Yakuza film on this list, Why Don’t You Play in Hell?, directed by Sion Sono, is a blast from start to finish. It’s a highly imaginative, outrageous, unique, visually gruesome journey of mindless entertainment. The film follows a group of wannabe filmmakers known as “F**k Bombers” who become embroiled in a Yakuza war between two rival factions led by Boss Muto (Jun Kanimura) and Boss Ikegawa (Shinichi Tsutsumi). Muto has promised his wife, who has been in prison for ten years (and will be released in ten days) for murdering rival gang members who invaded her home and threatened their daughter, Mitsuko (Fumi Nikaidō), that their child, who was a child star and appeared in a famous toothpaste commercial when she was ten years old, has become a star. With the help of Koji (Gen Hoshino), whom Mitsuko meets while escaping from her father—who mistook him for a director—Muto is resolute in his goal to finish filming the picture with Mitsuko in the lead role before his wife is released from prison and gives Koji the task of directing it. Uninitiated by his knowledge of filmmaking, Koji becomes entangled in the perilous Yakuza world. He learns about “F**k Bombers” by chance and offers them the job of directing the film. As a result, the group decide to take advantage of the opportunity to document the long-running Yakuza conflict between Muto and Ikegawa. Little did they know that their dream of making a masterpiece would become a deadly reality.
Why Don’t You Play in Hell follows the absurd, quirky collaboration of an avid movie crew and a group of gangsters to document the gangsters’ revenge in film. Despite the highly disorienting, tongue-in-cheek nature of the story, the film manages to captivate viewers with its touching moments, such as the brewing romance between Mitsuko and Koji or Ikegami’s admiration for Mitsuko, which comes off as endearing without being creepy or cringy. As one of the most passionate odes to the craft of filmmaking and the dedication filmmakers have for their craft, the movie will surely tug at the heartstrings of cinephiles and aspiring filmmakers. The film’s action sequences (especially the climactic showdown), stunts, and violence are on par with, if not better than, Tarantino’s films; they are cartoonish, exaggerated, brutal, well-executed, and not meant to be taken seriously, but are still incredibly entertaining to watch. Why Don’t You Play in Hell? Is Sion Sono’s love letter to 35mm filmmaking, as he combines multiple genres into a glorious experience. It’s his version of “Cinema Paradiso,” but with plenty of blood and gore!
10. Sympathy for the Underdog (1971) – Kinji Fukasaku
Kinji Fukasaku’s Sympathy for the Underdog effectively depicts how a Yakuza gang begins, the process of its ascent, and how it climbs up the ladder to reach the top, which is rarely seen in the Yakuza genre. Masuo Gunji (Kōji Tsuruta) is an old-school Yakuza boss whose organization is driven out of Yokohama by a powerful rival gang from Tokyo. After serving a ten-year jail sentence, Gunji returns and reunites with some of his loyalists and decides to rebuild his organization in Okinawa. However, as they make inroads and progress, the same old rival gang from Tokyo arrives on the island to seize control of the territory.
Although Kinji Fukasaku was not a stylish director, the shot of Gunji standing outside the prison with the wind blowing and the leaves whirling around him as he walks alone on an empty road with his eyeglasses on is one of the coolest opening scenes in his career. At a 93-minute runtime, the film unfolds briskly, with the protagonists facing increasingly complex challenges (rivalry from the other Yakuza gangs) as they rise through the ranks to become a powerful gangster organization. The film picks up steam in the second half as they face off against their long-lost, formidable enemies, culminating in a climax that leaves viewers on the edge of their seats. The film also examines how the old Yakuza values of honor and integrity have been replaced by Yakuza clans that operate as corporations, with profit and business taking precedence over loyalties and bonds. Sympathy for the Underdog features all of Fukasaki’s signature elements as a director—a gritty setting, gory action, handheld shooting of action scenes (including fistfights, bar brawls, and shootouts in back alleys), voiceovers (for exposition), freeze frames, lots of trash talking, flashbacks (to provide depth to the character), etc.
9. Youth of the Beast (1963) – Seijun Suzuki
In addition to being a gripping revenge thriller and gangster flick, Youth of the Beast is particularly memorable because it was my first Yakuza movie and my foray into Seijun Suzuki’s body of work. The film stars Joe Shishido as Mizuno, a violent and out-of-control thug who attracts the attention of the Nomoto organization, a Yakuza gang, and subsequently becomes a member of the organization. However, he also strikes a deal with the rival gang, the Sanko family, and agrees to spy on Nomoto’s activities. His true motivations are gradually revealed, which are linked to the death of a police officer at the start of the film.
The film is essentially Akira Kurosawa’s Yojimbo (1961), but with an added revenge angle that makes it an intriguing watch. With a 91-minute runtime, the busy screenplay keeps viewers on the edge of their seats, and the razor-sharp editing allows the story to move from one plot point to the next at a breakneck pace, resulting in an exhilarating experience. Seijun Suzuki brilliantly constructs a gangster world that is electric and kinetic, devoid of honor and integrity, and characterized by nihilism and violence. Additionally, the film is visually appealing, thanks to cinematographer Kazue Nagatsuka’s use of vibrant colors and dynamic shots that complement the film’s gritty background of corruption and decay, as well as Hajime Okumura’s demented jazzy score, which lends the film an overall pop art vibe. Joe Shishido delivers another stellar performance as a gangster who seamlessly assimilates into the yakuza world while simultaneously harboring immense rage.
8. A Colt is My Passport (1967) – Takashi Nomura
Takashi Namura’s visually stunning, ultra-cool ’60s Yakuza film, A Colt Is My Passport, feels like a combination of spaghetti Westerns and French New Wave. Yakuza boss Senzaki (Hideaki Esumi) hires professional hitman Shuji Kamimura (Joe Shishido) to assassinate his old business partner and rival, Shimazu (Kanjuro Arashi), in exchange for money and safe passage out of the country. Although Kamimura successfully executes the task, Senzaki betrays him for the business partnership and money offered by Shimazu’s son in exchange for his death. As a result, Kamimura and his driver, Shun Shiozaki (Jerry Fujio), hide out in a rundown motel, where they meet Mina (Chitose Kobayashi), the waitress, who falls for Kamimura and tries to arrange a ship escape. But things go wrong, and two Yakuza groups are hunting them as they fight for survival.
The level of planning depicted in certain scenes—like Kamimura setting himself up to kill Shimazu or the detailed process of bomb preparation towards the end—will bring to mind the crime films of Jean Pierre Melville, in which he would painstakingly plot out and show every last detail of the heist scenes. On the other hand, the film’s score and standoffs (especially the climactic sequence) are reminiscent of Sergio Leone’s spaghetti western films, which featured Morricone’s score and intense showdowns. Additionally, A Colt is My Passport presents a richly characterized protagonist in Kamimura, a hitman going through an existential crisis, a theme similarly explored in films like Le Samouraï (1967). In a heartfelt and one of the best scenes in the movie, Shun leads a guitar song about love and happiness. As the lyrics reach the line “I’m sure the happiness will come soon,” the camera pans over Kamimura’s face, revealing an expression that speaks volumes of his emotional state of mind. Finally, adding Mina, a character born and brought up in filth and always despised and looked down upon, heightens the film’s emotional impact. Mina shares many similarities with Kamamura, including a desire to escape, start fresh, and find happiness in their lives, which makes us empathize with these characters and want them to survive despite the increasing danger around them.
7. Drunken Angel (1946) – Akira Kurosawa
After working for studios and making conventional and formulaic films, Akira Kurosawa finally gets to do his own thing with Drunken Angel, a film widely regarded as his first (and certainly not his last) significant cinematic achievement. In postwar Tokyo, Yakuza thug Matsunaga (Toshiro Mifune) seeks the help of alcoholic doctor Sanada (Takashi Shimura), who diagnoses him with tuberculosis and pushes him to quit his destructive lifestyle. While Matsunaga attempts to reform, his ex-boss Okada (Reisaburo Yamamoto) returns from prison, reclaiming control and threatening those that Matsunaga cares about. Betrayed by his syndicate, Matsunaga faces a deadly confrontation to defend his honor and protect Dr. Sanada and his female assistant, Miyo (Chieko Nakakita), who was in an abusive relationship with Okada before he went to jail.
Drunken Angel is more than a film about a complicated relationship between an alcoholic doctor and a violent mobster; it’s a layered critique of postwar Japan’s social and cultural collapse. Here, Kurosawa skillfully amalgamates elements of neo-realism—including the emphasis on depicting economic depravity, sympathy for its characters, and on-location filming—with those of American noir—including the anti-hero protagonist, high contrast lighting, and postwar disillusionment. Additionally, the makers expertly construct the film’s world; central to it is a cesspool, which symbolically represents the devastated landscape and the Japanese spirit, which has hit rock bottom after World War II, with many turning to crime and corruption for survival and the nation as a whole having crumbled socially, culturally, and institutionally. One of the film’s distinctive features is Kurosawa’s compassionate treatment of Sanada and Matsunaga, the protagonists, as multi-faceted people with intricate personalities. Their complex and turbulent relationship is brilliantly performed by Toshiro Mifune and Takashi Shimura, who exude an electric chemistry that lights up the screen every time they appear together. Toshiro Mifune’s portrayal of Matsunaga marked a watershed moment in his career and ultimately elevated him to one of the world’s most revered stars.
6. Sonatine (1993) – Takeshi Kitano
A masterwork in minimalism, Sonatine is one of Takeshi Kitano’s most celebrated works and the film that put him on the international map. Murakawa (Takeshi Kitano), a middle-aged and weary Yakuza from Tokyo, is dispatched to Okinawa by his boss to settle a dispute between two Yakuza clans. Reluctant and suspicious, Murakawa takes his group and goes to Okinawa, but soon they are ambushed, resulting in the deaths of several of his men. As a result, while waiting for the trouble to blow over, he and his men take refuge at a secluded beachside location, where they meet and develop a playful bond with a woman named Miyuki (Aya Kokumai). After discovering that he has been the victim of a plot to seize control of his lucrative territory, Murakawa resolves to get even.
The film is expertly paced and intelligently structured, with the first act establishing the Yakuza world, presenting the situation, and introducing the characters. Murakawa is experiencing an existential crisis as he has grown weary of the gangster life and craves normalcy. The second act occurs entirely at the beachside house, where Murakawa and his men take refuge. Kitano does an excellent job of thoroughly immersing us in that world with the characters, as they do some truly amazing things like play Sumo games, drink and dance, set traps for the other characters to fall into, take a shower in natural rain, etc. At this point, Sonatine becomes a hangout film in which Murakawa finally gets to live the life he has always desired. Then, in classic Kitano style, the happy times are short-lived, followed by sudden bursts of shocking violence, and the third act devolves into revenge, eventually bringing the film to a fitting and satisfying conclusion. Sonatine will linger with you for days after you’ve watched it.
5. The Tale of Zatoichi (1962) – Kenji Misumi
The Tale of Zatoichi, directed by Kenji Misumi, is a somber and effective period drama that stands out among the slew of films and TV shows about the adventures of one of Japan’s beloved characters. Zatoichi (Shintaro Katsu), a blind masseuse but infamous swordsman, is hired as a muscle by Yakuza boss Sukegoro (Eijiro Yanagi) to combat his rival gang led by Shigezo (Ryuzo Shimada). On the other hand, Shigezo counters by recruiting a ronin named Hirate (Shigeru Amachi), as the two Yakuza clans appear to be heading for an all-out conflict. However, things become complicated when Zatoichi and Hirate develop an unexpected friendship amidst a full-blown gang war.
Along with the Yakuza war between the two clans, the screenplay’s equal focus on the growth of Zatoichi and Harate’s unusual friendship is what makes the film emotionally moving and compelling to watch. They fish, drink together, and talk about many things, but what truly bonds them is their shared code of honor. Despite being top-class Samurais, they despise their profession, avoiding war and killing whenever possible, fighting only for survival. Their conflict stems solely from the fact that, despite neither being especially interested in fighting the war, Harate participates regardless since he is physically ill and desires to die by Zatoichi’s sword, which he regards as the only honorable way to die. As the most iconic and endearing samurai ever brought to life on screen, Shintaro Katsu brings unparalleled depth to his portrayal of Zatoichi. His chemistry with Shigeru Amachi, who plays Hirate, is incredible, and their scenes together are the film’s highlight. What starts as a Samurai action film quickly becomes a poignant and sensitive period piece that delves into themes of friendship, honor, and the futility of violence.
4. Pale Flower (1964) – Masahiro Shinoda
Pale Flower, directed by Masahiro Shinoda, is a compelling and stylish Japanese noir that was the most pleasurable and unexpected discovery while researching for this list. Muraki (Ryō Ikebe), a hardened Yakuza member, rejoins his old gang after being freed from prison for murdering a rival gang member. An upper-class gambling woman named Saeko (Mariko Kaga) catches his eye at the gambling parlor, and he finds himself captivated by her mysterious aura. Along with dealing with the frequent power shifts in the Yakuza world, Muraki realizes that the woman he is smitten with has an insatiable desire for intense pleasures, which can lead to self-destruction.
The most intriguing aspect of this film is the relationship between Muraki and Saeko, which is something that you rarely see in cinema. He is fascinated with her, but they aren’t romantically involved, and he doesn’t act overprotective of her like a father might in a father-daughter relationship. It’s something else. Muraki is an emotionally detached, laid-back, lonely mobster who suppresses and never opens up. When he first meets Saeko, a high-stakes gambler who enjoys fast automobiles and cheap thrills, he discovers she is even more emotionally distant than he is. She also seems to be a mystery that he struggles to understand, sparking his curiosity and potentially leading to his infatuation with her. Furthermore, the stunning visuals bring to mind classic noir films of yesteryear, complete with neon-lit streets illuminated by rain, chiaroscuro lighting, and wacky camera angles. Performances-wise, Mariko Kaga impresses as Saeko, expressing a blend of recklessness and sensuality while exuding an intriguing aura surrounding her. Ryô Ikebe perfectly embodies the archetype of a lonely, dispassionate hitman who ends up trapped by his own choices brought about by her mysterious and unapproachable demeanor, leading to a tragic and depressing conclusion. Pale Flower is a timeless classic in Japanese cinema that explores themes of alienation and self-destruction.
3. Branded to Kill (1967) – Seijun Suzuki
Seijun Suzuki’s absurdist masterpiece, Branded to Kill, was fraught with controversy, significantly impacting the director’s career. The studio executives initially refused the film release due to their disagreement with the final cut and Suzuki’s creative liberties. In response, Suzuki successfully sued the studio with the assistance of student groups, like-minded filmmakers, and the general public, forcing them to release the film. Unfortunately, the film was a critical and commercial failure upon its release, and the whole controversy led to his blacklisting from the film industry, which prevented him from directing another picture for a decade. However, over time, the film has become a cult favorite and is regarded as one of the director’s best works.
Hanada (Jow Shishido) is Japan’s third-ranked hitman, with a fetish for smelling boiling rice. Despite being at the top of his game, he botches a hit job, becomes a target, and flees his former employers. Hanada faces even greater danger at the hands of his treacherous wife and, lastly, of the enigmatic number-one hitman, who goes by the name “Phantom” and is out to get him.
Several aspects of the film are utterly bizarre and outlandish, showcasing Suzuki’s remarkable visual sensibilities and imagination. These include Hanada being aroused by smelling boiling rice, a wife that is obsessed with sex and is mentally demented, a femme-fatale lover that surrounds herself with dead birds and butterflies, unexplained shifts in the weather, inexplicably random character appearances with an unclear relation to the main plot, etc. Branded to Kill also features some of the most inventively designed murder scenes ever depicted, including a hit involving a cigarette lighter billboard, an assassination through a kitchen sink, and one killing sequence in which Hanada flees via a hot air balloon. Hanada and Mami’s relationship is volatile, to put it mildly. It’s unpredictable, tumultuous, and hilarious at the same time, with them abusing and demeaning each other and being at one another’s throats one minute, then having passionate, rough sex and confessing their love the next. And when you think it can’t get crazier, Suzuki demonstrates even more bizarre dynamics between Hanada and Mitsuko, raising the weirdness bar to new heights and further enhancing the film’s exploration of identity, obsession, and the absurdities of human existence. A superb cat-and-mouse game ensues in the film’s last act between two hitmen vying for the top spot; each engages in intense mind games to see who can last the longest and wear out the other; both are prepared to resort to whatever means necessary to establish their dominance. Branded to Kill is a must-see hitman noir that delves into a domain of dark comedy, psychosexual paranoia, nightmare unreality, and a descent into madness.
2. Hana-bi (1997) – Takeshi Kitano
Hana-bi is Takeshi Kitano’s most personal and accomplished work to date, exemplifying the power of visual storytelling. Takeshi Kitano stars as Nishi, a detective who is burdened by his wife Miyuki’s terminal leukemia and a debt to the Yakuza for her medical expenditures that he is struggling to settle. Following a violent stakeout that leaves his partner Horibe (Ren Osugi) paralyzed, Nishi resigns to care for his wife while grappling with the dangerous repercussions of his debts.
At first glance, Hana-Bi’s simple premise may seem just another conventional Yakuza film, but it is much more than that. At its core, it is a one-of-a-kind story about the richness and fragility of human existence, touching on themes such as love, loss, and mortality. More than the story itself, Kitano is more interested in placing his characters in difficult circumstances and observing their responses. On the one hand, Nishi experiences violent outbursts and lashes out in response to adversity, which may result from his eternal sense of helplessness and sadness caused by the unavoidable pain of fate. Conversely, Horibe becomes introspective and creative after his family abandons him as a result of his permanent disability. Kitano plays Nishi with restraint since the character seems to have two states of mind: violent outbursts and complete silence. His expressionless visage, stiff body language, and spectacles that cover his eyes for most of the film make him unpredictable, leaving us wondering what he is thinking, feeling, and experiencing. His quiet moments with his wife Miyuki are endearing and sincere, and the film’s highlight. While they aren’t overly talkative or physically tactile, their chemistry is potent, creating the impression of a profound and genuine attachment. Additionally, Joe Hisaishi’s memorable score, combined with Hideo Yamamoto’s gorgeous cinematography and perfect frame compositions, creates a dreamlike melancholy atmosphere that adds lyrical and meditative beauty to the film. Unquestionably, my favorite Kitano film.
Hana-bi movie links: Letterboxd, Wikipedia
1. Battles Without Honor and Humanity (1-5) (1973-1974) – Kinji Fukasaku
Kinji Fukasaku’s ambitious Battles Without Honor and Humanity series is undoubtedly my favorite Yakuza film on this list, and it is arguably one of the greatest gangster films ever made. Based on a series of newspaper articles by journalist Kōichi Iiboshi and written by Kazuo Kasahara (the first four films) and Koji Takada (the final one), Fukasaku turned his ambitious project into the five-part Battles Without Honor and Humanity series (1973-1974), documenting the evolution of Japan’s criminal underworld from the aftermath of WWII through the 1970s. The graphic, semi-documentary-styled five-part series follows Shozo Hirono (Bunta Sugawara), a young ex-soldier and street thug-turned-yakuza in post-war Japan, as he navigates the vicissitudes of the underworld in Hiroshima prefecture. The plot revolves around the volatile power struggles within the Yakuza, depicting conflicts between families and individuals as new factions rise amidst shifting loyalty and unrelenting violence.
After watching this film, I am confident that no one can match Fuksasaku’s ability to capture brawls and fights involving numerous people with such precision and effortless spontaneity. The combination of handheld cameras, zoom lenses, and natural lighting makes the action appear more gritty and chaotic, allowing Fukusaku to effectively convey a generation’s struggle to survive in the postwar chaos. Another notable aspect of the film is its use of narration, which is executed better than in any other film I’ve seen. This technique has obviously influenced other renowned filmmakers, like Anurag Kashyap, who employed it in Gangs of Wasseypur (1-2) (2013), a top-tier Indian gangster film. Narration in this case serves a dual purpose. On the one hand, it keeps the film moving at a breakneck pace by delivering critical exposition and information.
On the other hand, the plot is highly complex, with new Yakuza clans entering the picture, characters appearing, and dynamics developing. It’s nearly impossible to keep track of everything happening simultaneously, so the narration helps keep things easy by simplifying the plot details. The film contains all the hallmarks of a good gangster film: a well-developed setting (here, the streets of Hiroshima), surprising alliances, negotiations, arguments, shocking betrayals, brutality, friendships, loyalty, etc. Additionally, juxtaposing traditional notions of yakuza honor with the brutal pragmatism of the gangsters’ behavior, the film highlights the hypocrisy of norms like loyalty, code, and honor, underlining the collapse of romanticized views of the Yakuza. The film also evolves with Japan’s political scene, fluidly moving into political territory, particularly in the fourth chapter. In addition to a complex plot, the screenplay emphasizes character development; the characters grow and change throughout the film, leading to a satisfying climax that, contrary to my expectations, concludes in a calm and reflective manner rather than resorting to all-out violence and extravaganza. Bunta Sugawara stands out and delivers a commanding performance as Shinzo Hirono. Sugawara’s performance catapulted him to fame in Japan and internationally, remaining iconic even today for his extraordinary screen presence, raw intensity, and undeniable charisma.
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