Kurenai no nagareboshi

Velvet Hustler follows an assassin who goes into hiding after a job, but as things often go in these kinds of movies, remaining underground proves all but impossible. At the same time, he also can't seem to help getting into trouble, leading to a lot of fun chaos for the earlier parts of the movie, followed by more serious consequences explored in the film's later scenes.

I really loved the style, energy, and color of the first hour. In its final half-hour, it becomes a little more grounded and serious (and has far fewer random brawls, which were a consistent source of entertainment in the first hours or so).

I thought it was writing itself into a corner narratively, but it did still end a little differently than expected. So I can't say the last act was bad, and it definitely didn't hurt what came before. It's more that it was a movie where I really liked two thirds, and thought the remaining third was just alright.

A very cool 60's hipster style movie. It looks almost like a Seijin Suzuki film right down to having Jo Shishido playing a hitman. Unfortunately it doesn't pay-off quite as well as a Suzuki film. If your going to make a "youth crime" sort of film, you have to push that exploitation factor a bit more. The violence and action were just a bit too restrained.

A suitably swinging, 60's set crime picture in the tradition of many early Seijun Suzuki pot-boilers - such as Underworld Beauty (1958), The Fighting Delinquents (1960) and Youth of the Beast (1963) - and produced by Suzuki's then bosses at the infamous Nikkatsu company, Velvet Hustler (1967) - aka Like a Shooting Star - is a similarly stylish and energetically directed B-picture filled with double-crossing gangsters, sultry femme-fatals and a writhing plot filled with a number of outrageous twists and turns. Though it lacks the obvious visual experimentation and adventurous disregard for logic and convention that was often illustrated by Suzuki's work - in particular, celebrated cult thrillers like Tokyo Drifter (1966) and Branded to Kill (1967) - Velvet Hustler features a number of similar thematic elements and a general reliance on film noir clichés and stock-characteristics lifted from the kind of gritty, self-aware and intellectualised crime thrillers coming out of France and Europe in the late 50's/early 1960's.

As is often the case with these particular Nikkatsu B-pictures, the plot of Velvet Hustler focuses on a central character - often a young thug designed to be an almost Japanese Dean Martin type - who is too thoughtful, ambitious, philosophical or romantic for the violent underworld that he finds himself caught up in, and eventually tries to escape amidst an onslaught of back-stabbing and violent double-crosses. Though there are elements of that formula presented here, director Toshio Masuda also throws a few bold subversions into the mix; introducing us to a complicated central character that goes against the usual concerns of honour and loyalty so central to the Yakuza sub-genre by assassinating his own boss, which then leads the course of the narrative in a number of directions that we wouldn't normally expect from this kind of material. To once again stress the Suzuki comparisons even further, we here have a great central performance from Tetsuya Watari - who famously took the lead in the maverick director's classic, aforementioned revenge flick, Tokyo Drifter - while support is offered from the truly iconic Jo Shishido, familiar to most Japanese B-movie fans from films like Youth of the Beat and Branded to Kill, as well as the epic Battles Without Honour and Humanity (1974) from director Kinji Fukasaku.

Here, Watari plays the character of Goro, who after killing his boss takes a job as a bodyguard protecting prostitutes in the Yakuza controlled coastal city of Kobe. By choosing the assignment, Goro places himself in the midst of the very gangsters that he was initially trying to escape from; an audacious move that he believes will lessen the suspicions surrounding the assassination of his former master. However, in keeping with the conventions of this particular genre, it isn't long before a bourgeoning relationship with a treacherous femme-fatale, played by Ruriko Asaoka, brings the attention of the local police, the Yakuza syndicate that he betrayed, and a shadowy hit man from Tokyo. As you could expect from such a set-up, the film is riddled with the kind of generic, film-noir clichés that we've come to know and love from post-war crime cinema of this particular period, whilst Masuda's bold direction, taking full advantage of the 60's iconography, fashions and cultural references of the time, gives the film a further sense of energy and immediacy that works well with this particular kind of story.

The film ties in nicely with many other Nikkatsu projects of this era, though I'm perhaps inclined to agree with the previous reviewer who felt that the scenes of action and implied brutality where somewhat dry in comparison to many other Japanese films being produced during this era. Nonetheless, the direction is first rate - with Masuda making great use of muted colours and that excellent use of cinemascope cinematography - while the overall approach to the film, with its street-level confrontations and back-room conspiracies stressing the influence of Jean Luc Godard; in particular films like À bout de soufflé (1960), Le Petit Soldat (1960) and Bande à part (1964). Once again, what I like about this film is the energy and the window into a particular time and place, not only in terms of the characters and the narrative, but in a film-making sense as well. I love the energy here, and the occasional moment of high camp as the producers throw in yet another archaic moment of zeitgeist capturing silliness clearly intended to appeal to the youth audience; such as the fantastic moment where Goro - after having picked a fight with a fellow gangster in a backstreet go-go bar - begins dancing with the rest of the kids in a way that is both amusing and coolly iconic.

It's far from being a complete masterpiece, with the limitations of the budget and the nature of its production, combined with the 60's spirit and the obvious reliance on film noir references and clichés no doubt acting as a hindrance for many viewers not as well accustomed to this particular style and era of Japanese film production. However, if you consider yourself a fan of the aforementioned Suzuki or some of the early Nikkatsu produced films of Shōhei Imamura (although those were much more expansive than this), or can respect the work of directors like Godard, Melville or Tarantino (who has obviously taken some influence from the films of this era) then you should easily get some sense of enjoyment from Masuda's dependable plotting, exciting gangland explorations and some fine moments of directorial vision. Apparently the film is something of a loose remake of Masuda's own film, Crimson Seaport (1958). I haven't seen that particular work, but judging from the success of Velvet Hustler, I'd certainly be interested in tracking it down.

Much has been made of the debt this great film, by director Toshio Masuda, owes to Jean-Luc Godard's "Breathless"--and to be sure, it has many (most likely intentional) similarities. Yet, "Kurenai No Nagareboshi" (known here as "Velvet Hustler") is actually a faithful remake of Masuda's own 1958 film, "Crimson Seaport"--a film made a full year before Godard's picture.

That being said, "Velvet Hustler" is another in a long line of knock-out Nikkatsu action films from the 1960's. Though this film is highly entertaining, and very worthy of repeated watchings, it should be noted that it is a fairly typical example of the type of action/exploitation films Nikkatsu Studios turned out (by the scores!) at this time. In short, this is a greatly enjoyable programmer that we are lucky to have available to us here in the USA. I only hope that more of Nikkatsu's excellent 1960's output sees release on video stateside!

This one's a gem. The story and to some extent the style are influenced by Goddard's "Breathless". We have the cool elements of a macho yakuza picture with pseudo-new wave flourishes. The slight pretense of being something deep never gets in the way of the fun. Watari Tetsuya is brilliant as the rough yet suave killer anti-hero and Asaoka Ruriko is so alluring as the sophisticated rich girl. There are cool humorous touches such as the hole in the killers hat and the great campy dance hall sequences with 60s go go music and chicks. I enjoyed this so much because I found it to be an example of a real classy take on the exploitation picture. I think it's from Nikkatsu who churned out these "program pictures", basically formula b-movies. Here we have been given such a film and while it's careful not to get so bizarre as to disarm the target audience (such as the great Suzuki Seijun had a tendency to do) it does show a distinct flare for a certain camp mod coolness.