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In this jazzy gangster film, reformed killer Phoenix Tetsu’s attempt to go straight is squashed when his former cohorts call him back to Tokyo to help battle a rival gang. This onslaught of stylized violence and trippy colors got director Seijun Suzuki (Branded to Kill) in trouble with Nikkatsu studio heads, who were put off by his anything-goes, in-your-face aesthetic, equal parts Russ Meyer, Samuel Fuller, and Nagisa Oshima. Tokyo Drifter is a delirious highlight of the brilliantly excessive Japanese cinema of the sixties.
Seijun Suzuki transforms the yakuza genre into a pop-art James Bond cartoon as directed by Jean-Luc Godard. The near-incomprehensible plot is almost negligible: hitman "Phoenix" Tetsu (Tetsuya Watari), a cool killer in dark shades who whistles his own theme song, discovers his own mob has betrayed his code of ethics and hits the road like a questing warrior, with not one but two mobs hot on his trail. In a world of shifting loyalties Tetsu is the last honorable man, a character who might have stepped out of a Jean-Pierre Melville film and into a delirious, color-soaked landscape of a Vincent Minnelli musical turned gangster war zone. The twisting narrative takes Tetsu from deliriously gaudy nightclubs, where killers hide behind every pillar, to the beautiful snowy plains of Northern Japan and back again, leaving a trail of corpses in his wake. Suzuki opens the widescreen production in stark, high-contrast black and white with isolated eruptions of color that finally explode in a screen that glows in oversaturated hues, like a comic book come to life. His extreme stylization, jarring narrative leaps, and wild plot devices combine to create a pulp fiction on acid, equal parts gangster parody and post-modern deconstruction. Andrew Sarris described Sam Fuller's films as works that "have to be seen to be understood," a characterization that applies even more in this case. Mere description cannot capture the visceral effect of Suzuki's surreal cinematic fireworks. --Sean Axmaker --This text refers to an out of print or unavailable edition of this title.
Stylin' color, smooth story, catchy tune... and that blue suit with those white shoes! A thorough pleasure from start to finish. Read morePublished on May 14 2002
While visually interesting, Tokyo Drifter lacks a cohesive story or any character development. It seems as if the editor removed the most important scenes. Read morePublished on April 28 2002
it begins black & white and bursts into hallucinogenic technicolor. avant-filmmaking, to be sure. the sets are color-coded and the action highly stylized. james bond on acid? Read morePublished on Sept. 8 2001
Tokyo Drifter is stylish like Out of Sight, has a storyline less plausable than that of a John Woo movie. Read morePublished on June 23 2001
This film has an unmistakably cool style. Shootouts on bare sets that look like relics of early Hollywood musicals. Read morePublished on Feb. 18 2001 by Eugene Wei
When I saw the old auto going into the flames accompanied by theme song, I was caught. Not that the storyline is great like in Kurosawa movies - it is just standard gangster movie,... Read morePublished on May 17 2000
Unfortunately, the review by firstname.lastname@example.org at the bottom of this page is very inaccurate. The reviewer wrote, "Seijun Suzuki was one of the most popular directors in... Read morePublished on Feb. 16 2000 by jeong ming lee