Tombe de yakuza et fleur de gardénia

There's not much to say really about YAKUZA GRAVEYARD perhaps other than it is a Kinji Fukasaku movie that finds the unsung master of the crime genre firing on all cylinders, his cinematic craft honed to stultifying perfection. Narrative use of montages and stills, hyperkinetic camera-work, relentless action, groovy score, convoluted plot, all the stylistic hallmarks of his yakuza directorial output are present and I'm sure he knew them so well by this point I bet he could knock one out of the park with his eyes closed. All in all an orgasmic smorgasbord of no-nonsense seventies crime cinema that takes no prisoners and that will have every last one of the genre's enthusiasts raising fists in the air with excitement. If you've perused any of Fukasaku's back catalogue from the early seventies you know exactly what I'm talking about – YG is not particularly original in that aspect but it shows the great Japanese director doing what he does best and doing it better than everybody else, then and now.

The cast is spearheaded by the always enjoyable and charismatic Tetsuya Watari (worked with Fukasaku in GRAVEYARD OF HONOUR - which Takashi Miike remade in 2002) and the fragile but determined Meiko Kaji, and is also populated by lots of familiar faces like Nagashi Oshima. Watari starts out as abusive cop strongarming yakuza thugs for information and the movie seems to be heading to a general cops vs thugs direction, that is until Fukasaku pulls an inverted Dirty Harry and has Watari siding with one of two yakuza gangs duking it out in the Tokyo underworld, pledging blood oaths with one of the underbosses and becoming romantically entangled with the wife of the boss who's away, doing time in prison. Kaji is said wife, a Korean half-breed and ex-hooker, running the gang in her husband's stead, emotionally vulnerable and leading an unfulfilled life. In the end Watari arrives to the same conclusions regarding the police as Clint Eastwood did in Dirty Harry, only the police he's renouncing is in bed with the yakuzas, doing political deals under the table, and his way of renouncing it is a lot harder and more violent than symbolically tossing a badge in a lake – a suitable, excellent ending to a grim and gritty piece. His transition from one end to the other is a bit abrupt but what the heck, this is a genre piece and not a character study so I'm not picky.

What easily stands out about YG is its breakneck, furious pace. The viewer will be forgiven for scratching his head in several occasions, wondering how the movie got where it is, and the convoluted plot doesn't really help orientation. It's basically plot-plot-plot only with torrents of mean asskicking, relentless and blistering as only Fukasaku knows how to shoot it. Every five minutes someone's getting his ass kicked – it's as simple as that and no exaggeration. It makes Steven Seagal flicks look like romantic comedies. Overall a top notch crime action flick that hasn't dated one bit in the places that matter and a definitive must-see for Fukasaku and yakuza fans.

Even with its sombre and bleak tone that puts many of his other works to shame, once the smoke clears, there are more than enough corpses to fill this graveyard. Yakuza Graveyard is one of Kinji Fukasaku's more psychological approaches to his Yakuza films, dripping with nihilism and crammed full of energy, the film has all the hallmarks of Fukasaku's other movies. Here, he chooses to focus on the complicated and damaged psyche of Tetsuya Watari's investigator Kuroiwa with the chemistry he shares with Meiko Kaji's Keiko adding some beautiful tenderness to this gripping tale of violence and interpersonal deception. The camera tilts, dives and chases after the exceptional action, at no point becoming lost in the haze of bloody knuckles and muzzle flashes; combining this with Toshiaki Tsushima's prog rock style score and Yakuza Graveyard remains just as emotional, hard-hitting and badass as Fukasaku's other works, maintaining a standard of quality few could rival.

Very good and not over long, this is a splendid violent Yakusa action film, although not bloody. There is rather much shouting and screaming but the camerawork is wonderful with many tricks, freezes and hand held work. I seem not to have seen much of the director Kinji Fukasaku expect of course of Battle Royale (2000). I loved seeing Meiko Kaji here and with before so much more like Lady Snowblood (1973) and the fantastic, Female Prisoner:701 Scorpion (1972). Cinematic all the way, a little confusing now and again but it is great with that stunning camera always going on and magnificent as thrilling all the time.

How ironic that director Kinji Fukasaku began to get a LOT of attention for his final movie (the amazing 'Battle Royale' - watch it today!) after a career spanning some forty years and sixty movies in many genres! How many other directors are unfairly languishing in obscurity because they aren't Anglo-American or talked up by Quentin Tarantino? 'Yakuza Graveyard' is a fascinating and brutal crime thriller that really impressed me. Along with Oshima's 'In The Realm Of The Senses' and Imamura's 'Vengeance Is Mine' it shows that there was some amazing films being made in mid-70s Japan. Films that are only now getting the attention they deserve! Tetsuya Watari (star of the extraordinary 1960s cult movie 'Tokyo Drifter') plays a cop who forms a friendship with a local criminal and eventually falls for the man's sister. Yes, it's the old "what side am I on?" plot we've seen many times, but it's done very well. Watari later had a small role in Beat Takeshi's 'Brother', and fans of Takeshi's yakuza movies would do well to track 'Yakuza Graveyard' down as it no doubt was a strong influence on Takeshi's movies like 'Violent Cop' and 'Hana-bi'. I really enjoyed watching 'Yakuza Graveyard' and highly recommend it to anyone who appreciates intelligent and uncompromised crime dramas, Japanese or otherwise.

Fukasaku's film, also known as "Yakuza Graveyard," is a compelling Japanese crime drama, from the director of "Battle Royale."

The plot centres on a 'cop on the edge,' played by Tetsuya Watari, a character far more disturbed than, say, Dirty Harry or Popeye Doyle from "The French Connection." Indeed, Watari's rebelliousness seems far more shocking in the context of Japanese society, where respect for authority and conformity are supposedly ingrained.

Equally interesting is the portrayal of the Yakuza. It is a crime family in the mould of "The Godfather," but more prosaic and less self-important than the clan created by Francis Ford Coppola. Above all, the film's theme is the lack of honour in Japanese society. The police are corrupt, and in many respects indistinguishable from the Yakuza. The central character develops a close relationship with one of the mobsters, whom he discovers is far more honourable and trustworthy than his police colleagues.

All in all, a fascinating and fast-paced movie.