Kenkei tai soshiki boryoku

Acting boss Hirotani (Hiroki Matsukata) of the Ohara gang uses his friendship with corrupt cop Kuno (Bunta Sugawara) to usurp a staged land deal that rival yakuza gang Kawade had arranged through local politicians. Open warfare erupts between the two gangs.

By 1975, Kinji Fukasaku had made more than 30 films, most if not all of this daunting number in the Toei studio system. Returning to the screen after completing their "Battles Without Honor and Humanity" series together, Fukasaku joined forces once again with screenwriter Kazuo Kasahara, composer Toshiaki Tsushima and star Bunta Sugawara.

We have a story where the corruption is so deep, it almost seems normal. It has been suggested that the title, "Cops Versus Thugs", is meant to imply "Cops as Compared to Thugs" rather than "Cops Fighting Thugs". This would be a wise and apt distinction, as the cops are every bit as involved in the yakuza as the "thugs" in this story. Allegedly the story is loosely based on a true incident (though no one knows what incident this would be), and there is the question of whether this is pure fantasy or some sort of blunt social commentary.

Besides the film's wild violence (sort of the precursor to Takashi Miike), what really stands out is the funky 1970s score from Toshiaki Tsushima, who worked with Fukasaku on the "Honor and Humanity" films as well as many others. One of their earlier collaborations is "The Green Slime" (1968), a personal favorite that was wrongly harangued in the debut episode of Mystery Science Theater 3000.

This is "Fukasaku at the peak of his powers," writes Tom Mes, who really ought to know better than anyone. For me, the peak will always be Fukasaku's final film, "Battle Royale", perhaps simply because it was my first exposure to his work. But of his nearly countless contributions to cinema, "Cops vs Thugs" (despite this terrible English title despite the subtlety mentioned above) is one of his best, and a true joy for anyone who likes crime, action, and maybe just a pinch of sleaze.

Along with a high-definition transfer, Arrow Video brings us "Beyond the Film: Cops vs Thugs", a new 10-minute video appreciation by Fukasaku biographer Sadao Yamane and a new 12-minute visual essay on cops and criminals in Fukasaku's works by film scholar Tom Mes. Praised by many as one of the all-time greatest yakuza films, this is not to be missed.

One of the best Yakuza films and one of the best crime films in general it's a must watch for anyone who is a fan of the genre.

COPS VS. THUGS is a Japanese yakuza movie directed by Kinji Fukasaku, and it shares themes and stylistic trademarks with his more celebrated yakuza films, SYMPATHY FOR THE UNDERDOG, GRAVEYARD OF HONOR, STREET MOBSTER, and the five-film series, THE YAKUZA PAPERS. The big difference here, as indicated by the title, is that the protagonist is not actually a mobster, but a tough cop who has to ride herd on the yakuza in his town. He is seen roughing up and disarming a quartet of yakuza henchmen in the opening pre-credits scene, thus establishing his tough guy credentials. Detective Kuno is played by veteran yakuza star Bunta Sugawara and we soon learn that, despite his fearlessness, the character is very much in the pocket of a local yakuza gang, having shielded one of its bosses from a murder charge six years before the events depicted here (reportedly based on a true story). So it's very much a yakuza film in the spirit of Fukasaku's other genre outings. Like them, it's got short sharp bursts of bloody, messy action—shootouts, stabbings, raids on rival turf, beatings of suspects, etc.--all handled in chaotic fashion, just like real-life violence. You won't find fancy fight choreography here or cleanly staged shootout sequences with montage editing. We get lots of long, unbroken takes and, during action scenes, some hand-held camera and zoom shots.

The backdrop for the events on screen is a land auction which the rival gangs are both hoping to manipulate to their benefit. But the real story involves the big monkey wrench that's thrown into Kuno's operation when Detective Kaida (Tatsuo Umemiya), a young crusading officer with judo skills and a college degree, takes over the squad to clean up the city and root out the yakuza. This puts Kuno in quite a bind. In an American cop thriller, Detective Kaida would be the protagonist and Kuno would be the villain. But it's clear that Fukasaku's sympathies lie with Kuno, who recalls starving after the war when the cops took all the black market rice for themselves and he resolved to grow up to be a "snatcher" himself. The cops in this town have figured out how to co-exist with the yakuza, tamping down their excesses and using designated scapegoats to serve prison sentences while allowing business-as-usual to continue. It's as if Sidney Lumet's film, SERPICO (1973), about whistle-blowing NYPD cop Frank Serpico, had been remade from the point-of-view of one of the corrupt cops, with Serpico as an antagonist. (Come to think of it, Lumet's 1981 follow-up, PRINCE OF THE CITY, is actually closer in spirit to Fukasaku's film than to SERPICO.) Fukasaku often spoke in interviews of the damage the war did to people's psyches and moral behavior and his films often addressed these issues. His last film, BATTLE ROYALE (2000), was a direct response to the way his generation of young people—teenagers during the war--was treated by the military dictatorship.

There are a number of women characters but their parts are all brief and they're basically just sex objects or floor mats to be walked on by the men. Reiko Ike, the sexy star of SEX AND FURY and FEMALE YAKUZA TALE, has a small role as a compliant gang moll assigned to Kuno to keep him company while he's separated from his wife.

COPS VS. THUGS was made in 1975 but is set in 1963. There doesn't seem to be much of an effort to recreate period detail. The cars and the fashions all seem to be from the 1970s. There is a scene where a black-and-white TV is on in an apartment and a singer is shown performing a sentimental ballad which is heard on the soundtrack as an attacker with a knife breaks in and stabs one of the occupants. The song sounds to me like it could indeed have been a popular hit in the early '60s. I wish I knew what the title is and who is singing it on TV in the scene.

I like the ending of this film, in which Kuno has to finally take some decisive action, even though it tears him apart to do so. There's an interesting postscript too, with an inevitable twist. However, I never felt much sympathy for Kuno. By any objective standard, he's a bad guy, a corrupt cop who stands in the way of good cops trying to do their job. One can make all kinds of allowances for him, given the explicit social and cultural contexts so ably supplied by Fukasaku, but that doesn't make me like this guy or feel he can be redeemed. Still, one has to give credit to Fukasaku for trying to challenge our assumptions. He never makes it easy for us.

The acclaimed director Kinji Fukasaku most recognized on Yakusa pictures since late sixties in a successive thematic offerings, he kept on the track in Cops vs Thugs, freely based in real events in Japan just changing names and the city where this facts really happened, the plot sets place in a seashore city where two opposites Yakusa clans struggle for large brownfield land thru a corrupt cop among a greedy politicians in a prearranged fake public auction.

To make a proper reading about the picture setting, we must backdate in post WWII when the all Japanese people have struggle to survived in hard poverty era due the Japan was devasted and all economy in ruins whereby all citizen had to appeal to black market to buy the essential foods that disappeared from the sight carried out by the war's efforts, so such dishonest Detective Kuni (Bunta Sugawara) and his mate Yakusa's Boss Kenji Hirotani (Hiroki Matsukata) were raised in those hard times, so it was rather usually they bribery each other.

When reaches at Police institution a newest generation as Lt. Kaida (Tatsuo Umemia) whom never gone hungry and was duly studied in new peaceful environment on fifties it somehow triggers a clash between two opposites generations, as the master Fukasaku implied in early scenes Hirotani as Yakusa's chief sitting in a chair at precinct, worst answering the phone as one of the policemen, in other hand Det. Kuno harshly beating up on smallest criminals at street, it exposes that all them are in equal terms, due they were a product of its own harsh era, masterfully directed upon this point of view.

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First watch: 2025 / How many: 1 / Source: DVD / Rating: 8.

This probably deserves a second viewing because I lost the drift a couple of times and found myself confusing the goodies and the baddies. I'm sure this is partly the director's intention, but probably not to the extent I lost it for a while. Never mind this really moves along and the confusion surrounding the participants and the minimal plot matters little. Great cinematic style with much variety, even use of black and white for flash backs and freeze frame for emphasis. Rousing score inspired by blaxploitation movies and a welcome and strong performance from the great Reiko Ike. Sex and violence, some debate about whether the cops or the yakuza are the good guys and then some more sex and violence. Very good but I'm sure I'll enjoy it even more another time.