Gorugo 13: Kûron no kubi

Also known as Golgo 13: Operation Kowloon,(US title) this is a perfect example of a grindhouse cinema Yakuza movie. Before John Woo there were these Yakuza movies. Films that merge the fetish of a slasher film with sex, guns and ammo. Gritty noir that has all of detective work of Chinatown with none of the charm or depth. This is not necessarily a bad thing, it just means that it's a different more lowbrow but equally watchable form of entertainment. Another American example would be Charles Bronson's "The Mechanic" from 1972.

As the relentless killer Golgo 13, a hitman that NEVER leaves a job unfinished, Sonny Chiba delivers what I would dare say the most hardboiled of it's time hitman movie. Devoid of mercy and full of bullet holes this movie takes out all of it's aggression on it's viewer with a rapid fire delivery of the plot and action sequences that flow together as if it's own style of dialog.

A perfect starter film for anyone interested in grindhouse and kung-fu style movies. Movies like Leon, Kill Bill, Ichi The Killer and later John Woo's The Killer all tip a hat to Chiba's work in this film.

I haven't seen any of the original anime films of Golgo 13 but I am planning on it in the near future. I had heard how gory they are so I thought this version might be pretty gory but unfortunately, it isn't. I had to watch the English dubbed version because the transfer with the subtitles was absolutely awful but it didn't take away from the experience as much as I thought it would. This is a fun movie for anyone who is into hit-man films.

Sonny Chiba does a great job as usual. I loved the grindhouse feel to this film. The action was great and so was the story, for the most part. There are some really great kung fu sequences as well. I think everyone should give this movie a shot. View it for what it is, a fun little 70's action film. Just don't expect some sort of masterpiece and you'll be just fine.

The charismatic Sonny Chiba is most impressive in this kick ass action movie that flits from Hong Kong to Miami and from Tokyo to Kyoto.

We flit from enemy to enemy as well in a slightly confusing tale of drug dealers, hit men and the Hong Kong police, not forgetting the Peruvian ambassador and his daughter!

How much we follow the slender plot matters not, as long as we miss none of the mister super cool Sony Chiba action.

All fast moving and spirited stuff with martial arts, shoot outs and assassinations.

Spirited.

Being a fan of Sonny Chiba and the Golgo 13 comics, I found this at the video store I work at, and rented it one saturday night. I laughed, I cried, I made fun of the atrocious dubbing. This "film" is absolutely ridiculous, but shouldn't be taken seriously anyway. If you are looking for a really goofy martial arts/ assassin flick, this is for you. I suggest inventing a drinking game for this movie, because being plastered is a must for this one.

Pretty typical Japan crime film of the middle 1970s - fast, cynical, unbelievable, flashy, empty. There are a couple of twists that raise it above the level of mere curiosity. first, Chiba's performance is fine. Second, the film is Japanese, but filmed in Hong Kong, on of the first efforts to cross the great divide between China and Japan that had been rendered and filled with blood during WWII. Interestingly, unlike similar Chinese efforts - e.g., A Man Called Tiger, The Angry Guest/Kung Fu Killers - there's no effort to explore differences between the two cultures: Hong Kong is just another thriving Asian metropolis, much like Tokyo. Perhaps this lack of notice of any difference is the crucial difference - come to think of it, Japanese action films of the 1970s don't have much to say about China in general, or Hong Kong - except to hint that the crime rate is unacceptably high there - which seems a bit churlish since all the professional killers in these films are Japanese. Oh, well.

One last historical note - this film clearly had as much impact on John Woo's "The Killer" as Melville's "Le Samourai" - more, I think, since the cop/killer relationship, given crude but important presentation here, is closer to the center of the Woo film than the implicit romance borrowed from the Melville film.

Nothing special, but worth a look.