La Beauté des bas-fonds

My very favourite Yakuza movie so far, with a nice noir story and a wonderful cinematography.

or so they say. I'm not very into gangster style movies of this variety, but this is a stylistic and imaginative entry. The feel of it is not far at all from Hollywood classics of the forties and this is what let me down the most. It still has plenty of charms and individuality of its own though. Much of it in the perverse details in which also black comedy is found.

Set in postwar Tokyo, then very much a city of shacks, is interesting to see and compare to todays megapolis. Well shot images in black and white really lets you get the feel of the city.

Most interesting character is Mari Shiraki's. She is strong and tough. Very well acted. Her boyfriend is well portrayed as a greedy artist. I must agree, though, that the hero Mizushima is a rather dull character.

Another classic romp that ticks all the boxes - gangsters, shoot-outs, loyalty, betrayal, twists and turns. The film is not as lurid as the poster suggests. But, if like Mr. Burns, you think movies were sexier when people kept their clothes on, then this one's up your alley. But while it's not exploitational, this film is not exactly 'feminist' either. In fact, what we get is a fully-formed female lead - we see her in a wide range of situations, she falls in and out of love, she acts emotionally, sometimes foolishly, but also displays acts of valor. It works as a date movie. And the final showdown is, as expected, really exciting.

Not all of Suzuki Seijun's works are equal, but he made some terrific classics - and for the vibrant, charged airs this carries right from the start, readily reminding of essential film-noir and crime flicks out of Hollywood or Britain, I dare say this is one of them. In fact, putting aside any sort of direct comparisons, 'Underworld beauty' is so stunningly flavorful that it quite stands out just on that basis, before taking into account the substance, at least as much as its most cherished kin from abroad do at large. Yamamoto Naozumi's music is rich, dynamic, and all but intoxicating; bearing a similar underhanded playfulness, Nakao Wataro's cinematography is also as smart as it is crisp and vivid, with no few shots being particularly shrewd and fetching as it captures every detail. Count the cast among those details, for from one to the next everyone gives outstanding performances, ably befitting the nature of the material: splitting the difference as scenes require between cool, steely poise and fabulously vivacious but nuanced acting full of personality and stark emotions, not to mention dexterous physicality. Only for their relative prominence do some stars necessarily make more of an impression than others, but with that said, among others, Mizushima Michitaro, Kondo Hiroshi, and especially Shiraki Mari are all minor joys in and of themselves, and they unquestionably excel as their roles make considerable demands of them.

And so it is on down the line, in most every capacity, as the feature bursts with zest and liveliness that put countless others to shame. Pretty much everything here is as joyfully fetching as the music, cinematography, and acting, if just in different ways: the filming locations, the production design and art direction, the costume design, hair, and makeup, the props and weapons, and so on. The audio is as clear as we could want, splendidly robust as every word, note, and sound rings out. Even Suzuki Akira's editing is notably choice in putting the picture together, in its own fashion maintaining the tremendous energy that this so capably manifests in and out. This is to say nothing of (Seijun) Suzuki's direction, deftly weaving every odd and end together with an impeccably keen eye and wonderful finesse - while pointedly sustaining that stupendous, buzzing electricity at all times. 'Underworld beauty' is a treasure, really, as through violence and camaraderie, cat-and-mouse and plain speech, and moods dark and light, the movie manages to be ferocious and biting, coy and winking, and bright and artistic all at once. From Suzuki's guidance of the cast, to the orchestration of shots and scenes, to even exceptional, delicious use of light and shadow, I wonder if this isn't actually the man's best title, in the very least among those that I've seen if not overall. From top to bottom, it's dazzlingly striking.

Why, I haven't even mentioned the stunts, practical effects, or action sequences. Sharp and invigorating as they are - including a phenomenal climax - they almost feel like an afterthought, a mere bonus, given how stellar and grabbing the film is in truly every other regard. And of course none of this would be possible without the superb screenplay of Saji Susumu. In the most general sense this broaches familiar territory as a disparate assemblage of seedy figures, most of them very distinctly criminal, pursue a handful of diamonds that are worth a bountiful sum. Within that space, though, the screenwriter fleshes out the saga with some of the most grandly savory minutiae I've seen in flicks of this variety. The characters are low-key fascinating, above all Miyamoto, Arita, and certainly Akiko. The dialogue is brusque and cutting, right in line with the tenor of the production, the characters, and the course of events. The narrative is flush with plentiful turns that keep us invested, ramping up the tension and suspense as all these figures and their interests invariably head toward some deadly culmination. And to be frank the scene writing is altogether exquisite, rounding out the story with some ingenious specifics that really capture the imagination. In every last element the picture overflows with sparks of brilliance, and each by itself is enough to light a fire; taken together, the result is spellbinding.

It may not immediately appeal to all comers, but as far as I'm concerned some works exist beyond any questions of personal preference. This is surely one of those, and for anyone who appreciates the genres this toys with - noir, crime drama, thrillers - this rather demands viewership. I said it recalls brethren of Hollywood or Britain, and I mean it, but all told this handily outshines vast swaths of them. I sat with no foreknowledge and expectations that were mixed to high based on my prior experience with Suzuki, and I'm ultimately aghast that I've not watched it until now. This is probably one of the best movies I've watched in recent months. With the writing, direction, acting, and craftsmanship all marked by incredible skill, intelligence, and care, in my mind 'Underworld beauty' is downright perfect. Seek it out to watch however you must, this is an underappreciated gem that deserves far more attention, and I'm all too pleased to give it my very high, hearty, and enthusiastic recommendation!

This is simply one of those crime films that transcends its pulp nature and becomes art. It comes from Nikkatsu Studios and the writing, sets, etc. are as good as anything coming out of Hollywood at the time.

'Ankokugai no bijo' is very much an American film in style, simply set in Japan. It's something like a Japanese master painting an incredible picture from an American photograph. The story is taut and sinuous, it's unclear to me who wrote it, but it reeks of Cornell Woolrich as is moves inexorably toward it's conclusion but with enough twists along the way that it doesn't feel preprogrammed.

The director, Seijun Suzuki, is an auteur of the first magnitude, which is already fully visible in this his seventh film. Suzuki gives us ingenious images throughout and uses the wide angle ("Nikkatsu Scope") frame like an artist. He's abetted by Wataro Nakao's beautiful black and white cinematography. Particularly well photographed are a scene in a sewer and the climactic shootout in a darkened building splashed with angular puddles of light.

The plot centers around some diamonds stolen by protagonist Miyamoto (Michitaro Mizushima, I assume) and left hidden while he spent three years in prison. Miyamoto is a morally ambiguous but honorable and seemingly independent yakuza thief. He swaggers through Tokyo in a black coat and hat, facial expression varying between a scowl and a sneer, it's clear that he's not unfamiliar with Humphrey Bogart. Akkiko (presumably Mari Shiraki) is the kittenish younger sister of Miyamoto's partner. She's on the verge of "going down the wrong path" and when her brother dies, not surprisingly as a result of Miyamoto and his diamonds, it's up to the black-hat hero to save her, and maybe save himself in the bargain (wink).