Okita le pourfendeur

Street Mobster is a violent Japanese gangster movie by prolific director Fukasaku Kinji who would later on direct influential genre masterpieces such as Battles Without Honor and Humanity, Graveyard of Honor and Yakuza Graveyard. Western audiences know him as the director of dystopian action thriller Battle Royale which was the last movie he was able to complete.

The story of this movie is rather simple. It follows the life of a violent gangster who attacks the members of an inflluential clan who try to extort money from him and associates. He spends some time in prison but soon forms a new gang that is particularly violent. He ultimately gets injured and is temporarily forced to join a bigger family for protection. When another and even bigger family from Osaka tries to increase its influence in Kawasaki, the film's violent antagonist decides to disrespect common conventions and brutally disrespects the different gangster families. The three involved families come to the only reasonable conclusion: they must cooperate to eliminate the antagonist and his associates to preserve peace.

The most interesting element about Street Mobster is its violent, nihilistic and egoistic antagonist who isn't interested in compromises, peace or truces. He desires to become the biggest gangster boss in the country by any means necessary. While this character is extremely dislikeable, he is brutally consequent and honest in his actions and therefore more complex and profound than one might think at first contact. The movie impresses with numerous violent scenes supported by dynamic camera work that have aged rather well and can still be considered offensive nowadays. The film has frantic pace and entertains from start to finish.

On the negative side, there are very few characters to sympathize or empathize with. As opposed to Western gangster movies, even the victims and outsiders in organized crime come off as careless and despicable. The story is also extremely thin and quite predictable. The action scenes are quite intense but also rather repetitive. The movie impresses at first contact but lacks creativity, depth and diversity.

To conclude, you should watch Street Mobster if you are looking for a particularly brutal, entertaining and fast gangster movie that has stood the test of time. This film certainly entertains while it last but doesn't leave any deeper impression due to its thin story line. Street Mobster is a feast for genre fans but can't compete with Fukasaku Kinji's later works.

The proud, self-destructive, punk/anti-hero violates national boundaries without compunction in late 60s/early 70s cinema. Here Isamu Okita (Bunta Sugawara), often simply called "Bro", is reminiscent not only of Alex (A Clockwork Orange) but also of Ivan (The Harder They Come), Johnny Boy (Mean Streets) and even of Michel (À bout de soufflé).

'Gendai yakuza: hito-kiri yota' (which, in English, apparently means something like Outlaw Killer or Street Mobster) is a restless, prowling movie that occasionally bursts into hyperkinetic action. Something about the verging-on-ludicrous action scenes gives the viewer almost the same sense of release that Bro and the other punks feel.

Isamu is a punk, a whore-son, born on the margins of post-war society. By virtue of his own courage and propensity for violence he becomes the leader of a street gang and attracts the attention of the more established yakuza crimelords. Most of the drama revolves around the conflict between his pride and his superiors.

'Street Mobster' is very well filmed and has aged well, it's influence on films like 'Fight Club' is palpable.

Street Mobster is among my favorite yakuza films, and from one of my favorite Japanese directors. This is a great, less-popular Fukasaku film, and it really deserves more attention.

Okita is our "hero", if you can call him that. He's hot-heated, violent, and unapologetic. I can't think of a time in the film where he really shows restraint. He's just such an over-the-top, punk rockin' character who doesn't care about rival gangs or other thugs; he wants to do what he wants, when he wants to. And that's definitely the driving force behind the film, it's explosive nature. It's so unglamorous and filthy at times, and yet you have this sense of a man living his life, maybe not to it's full potential, but having a hell of a lot of fun doing what he's doing. And maybe he's not even enjoying it, everything else is just too conformist for him. He simply doesn't back down. So he really is a hero, a hero to the downtrodden. A counterculture icon, a raging machine.

With it's boisterous protagonist comes a slew of background characters who are really just there to make Okita the centerpiece. Aside from the prostitute that he raped years earlier and now forms a bond with (Whose name I can't even remember!) there are few other noteworthy characters. And that's really okay. When they speak, they speak to get Okita's reaction. If you don't like Okita, then you're probably not going to like the film. Me, I enjoyed this rebellious, non-conformist gangster, yelling and picking fights. It was just so over-the-top and the director clearly embraced the punk style that was emerging at the time of this film's release.

Speaking of release time, I just watched the film again a few minutes ago, and I still can't believe it was made in 1972. I'm sure you've heard it before, but it's way ahead of it's time. It looks 90s-ish to me. The shaky-cam and jump cuts stand out most as then-foreign techniques. Of course, now they've become the norm in films.

So that's my short review. I don't feel that there's a whole lot more ground to cover as Okita is really the main attraction. So if you're looking to kill 87 minutes and consider yourself a fan of exciting cinema, look no further than Street Mobster.

Bunta Sugawara plays a low-level criminal who keeps getting in trouble with a major yakuza clan. After a ton of screwing around with them, a second yakuza clan adopts him as one of their own. At first, everyone's happy about it, but soon enough, Sugawara feels trapped and starts to act out. This, of course, does not please his bosses. The main problem with this one is that Sugawara's character is just so unlikable - you have to wonder why the yakuza on either side keep letting him screw around so much. The mobsters from The Godfather would have whacked him instantly (especially since he's essentially a nobody; he has a few followers, but they're just punks, too). The value of the film comes from Fukasaku's direction, which seems revolutionary for 1972, almost Jason Bourne-like with hand-held cameras, thrusting the audience in the kinetic action sequences. The direction is definitely some of Fukasaku's best work.

Outlaw Killer or as it says in the film, Street Mobster, is a bloody violent look into a totally self-destructive renegade street punk that can't ever seem to back down from a fight, no matter how suicidal. Truly a hilarious, incredibly charismatic character. So funny.

The film follows him as he talks about his youth, his incarceraton and picks up with him creating a new gang. Parts are a bit too melodramatic, especially at the end, but the characters are well-crafted and the action sequences are frenetic and fun.

A unique view of yakuza and street punk life in Japan in the early '70s from crazy-guy Fukasaku, the man behind Tora! Tora! Tora! and the fantastic Battle Royale.