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| Image courtesy of Toei |
People rot, but the ocean never does.
Though Kinji Fukasaku has made films in many different genres, he is most well known for his many Yakuza works. His Battles Without Honor and Humanity series is well regarded and often held up as the genre's pinnacle. Yakuza Graveyard (1976) is a thoughtful follow-up to that body of work, dipping into layered characters and tackling unspoken racial tensions between Korean and Japanese citizens that were not acknowledged in his earlier films.
The story is set in a post-war Japan suffering from a lousy economy where even the Yakuza feel the heat. Goods and money are scarce, and the different factions are clashing more than usual over the scraps. Kuroiwa Ryu (Tetsuya Watari) is a rough and tough cop that uses brutal methods to deal with the local ruffians. His demeanor gets him into trouble, and he is transferred to a different district with a particularly nasty turf war between the Nishida and the Yamashiro. Kuroiwa gets swept up by the war and an illicit romance with Matsunaga Keiko (Meiko Kaji), the wife of an imprisoned gang boss.
There is an uneasy alliance between the police force and the Yakuza, and the police end up picking a side in the conflict even though, on the surface, they completely condemn the activities. There is a thin line of morality separating the two factions. Fukasaku has imbued the narrative with a distinct anti-cop atmosphere which is subsequently funneled into Kuroiwa's surly character; a man who spends his off time sleeping with prostitutes, listening to western rock-and-roll, drinking profusely, and punching fellow cops in the face.
While all of this action is going on, there is a parallel theme concerning several zainichi Korean characters, which are Korean citizens who live in Japan and are descended from previous generations that came there during WWII. Keiko is half-Korean and is treated poorly by her full-Japanese husband because of her lineage. Though at first, she shows a cool appearance, it is revealed later that she harbors a lot of grief and anger inside over her position in Japanese society. Later on, Kuroiwa allies with Iwata (Tatsuo Umemiya), a full-blooded Korean Yakuza boss. They are both considered outcasts in their respective circles and bond over it.
Yakuza Graveyard is a tightly directed action piece that has a contemplative political thread running just under the surface. Fukasaku's steady direction and eye for compelling drama keep the film from feeling cliché and overdone.
Extras:
Filmmaker Kazuya Shiraishi has a short interview where he talks about Fukasaku's influence on both his films and Japanese culture in general. In a short video essay, Tom Mes discusses the history of Meiko Kaji and Fukasaku's working relationship and the different types of characters that Kaji played over her career. Mika Ko has a fascinating essay in the included booklet that delves into the history of zainichi Koreans and how they were depicted in popular culture and media.
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| Image courtesy of Radiance Films |
Blu-Ray Extras:
High-Definition digital transfer
Original uncompressed mono PCM audio
Appreciation by filmmaker Kazuya Shiraishi (2022, 15 mins)
The Rage and the Passion - A visual essay by critic Tom Mes on Meiko Kaji and Kinji Fukasaku’s collaborations (2022, 12 mins)
Gallery of promotional imagery
Easter Egg
Trailer
Newly improved English subtitle translation
Reversible sleeve featuring original and newly commissioned artwork by Time Tomorrow
Limited edition 32-page booklet featuring new writing on the film by Mika Ko on the representations of Koreans in the yakuza film, and newly translated re-prints of a contemporary review and writing by screenwriter Kazuo Kasahara
Limited edition of 3000 copies, presented in full-height Scanavo packaging with removable OBI strip leaving packaging free of certificates and markings
--Michelle Kisner