Category Archives: Genre: Action

The Gorilla Seven

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The Gorilla Seven (Japan, 1975)

An initially disappointing follow-up to Sonny Chiba’s badass 1974 TV shows The Bodyguard (*). Chiba leads a private 7 man team specializing in miscellaneous protection and crime solving missions. Jiro Chiba, Etsuko Shihomi and Yuki Meguro return from The Bodyguard, Isao Natsuyagi, Akira Nishikino and Maria Elizabeth are new additions to the team. JAC is responsible for the stunts as usual.

Despite the great premise, the show suffers from excessive poor comedy and a laidback tone that is in stark contrast with the violent, even nihilist The Bodyguard. The storylines tend to be very forgettable, and so are the characters who spend half of their time fooling around. Shihomi’s character supposed to be a ninja descendant, but that is merely a bit of trivia you’d never figure out based on what her character is doing in the series.

There is much less fighting than in The Bodyguard, and too much of it is left for the less capable members such as Meguro and Natsuyagi. As a slight compensation, there’s more focus on stunts, including Chiba grabbing on to a plane about take off (he did the same stunt in Key Hunter) or hanging from a ropeway wires. Not all of the stunts are as exciting, though.

Thankfully halfway into the 26 episode show the crew seem to have realised they need to get a grip, and they do. The last 10 episodes are quite enjoyable, with better action and better stories, the highlight being a terrific episode that co-starts Masashi Ishibashi as a hitman armed with a machine gun. Other cool episodes include Shihomi going undercover, and a storyline with Jiro where two rich douche bags are hiring proxy fighters (and bikers) and betting money on whose fighter survives.

Big name quest stars are quite few in the show, and most of them appear during the late episodes. Pinky Violence star Yumiko Katayama makes a 2 scene appearance in one of the two episodes directed by Teruo Ishii, Yuriko Hishimi has a central role in one episode, and Roman Porno actress Yuri Yamashina plays Ishibashi’s girlfriend.

It’s a shame the show is so uneven since it does come with rewards towards the end. In case one starts getting bored after the first few episodes, I recommend jumping straight to episode 17 (perhaps via episodes 11 and 13) as from there on almost every episode is a good one. There is no harm in doing that, thanks to nonexistent character development and lack of any kind of story connections between the episodes.

* Chiba had his own TV slot on NTV in 1974-1976. He starred in five shows in total starting with the karate actioner The Bodyguard (1974), followed by the action/crime shows The Gorilla 7, Blazing Dragnet (1975-1976) and Emergency Line (1976), and finally the family drama Nanairo tongarashi (1976).

* Original title: The Gorilla 7 (ザ・ゴリラ7)
* Director: Various
* Chiba’s role: Starring Role
* Availability: Toei DVD (Japan) (No subs) (December 2017). Review format: TV.

One of the worst episodes. The Gorillas use small radio-controlled planes to…

… fight gangsters who are comedic idiots

Thankfully there’s good stuff too, like Chiba with a gun

Jiro with a bike

Shihomi vs. Ishibashi

Chiba vs. Ishibashi

Some of the stunts are cool

Shihomi looking good

Soundtrack

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Wandering Ginza Butterfly: She-Cat Gambler

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Wandering Ginza Butterfly: She-Cat Gambler (Japan, 1972)

The first Wandering Ginza Butterfly movie (which did not feature Chiba) was a bit of a mishmash that brought Meiko Kaji, who had just quit Nikkatsu, to Toei. Toei saw her as potential heir to Junko Fuji, their biggest female yakuza star whose retirement earlier in 1972 had ended the Red Peony Gambler series and put another nail in the soon-to-be-buried ninkyo yakuza genre which Toei was reluctant to let die. Director Kazuhiko Yamaguchi, who was fresh off from his trendy and contemporary Delinquent Girl Boss series, turned the film into a hybrid between modern and old school yakuza films. The movie had its share of exhilarating scenes, but was also too routinely written with silly comedic relief and standard yakuza trappings to be a classic.

This slightly superior sequel gets off to a very good start with boobs, sunset, a Meiko Kaji theme song, and an excellent gambling duel before the film has even hit the 12 minute mark. A moment later Sonny Chiba shows up as a goofy entrepreneur running a small prostitution business! Unfortunately the rest of the film is not as good, save for the finale. The film comes with the usual yakuza film clichés, including Chiba’s comedy sidekick (Toru Yuri), an evil gang harassing girls, and an old ex yakuza (Junzaburô Ban, who played identical role in Delinquent Girl Boss: Worthless to Confess) trying to do something good for once. However, the tale comes back to life big time at the end where Kaji and Chiba, armed with swords and pistols, finally decide they’ve had enough of it! This isn’t a movie that utilizes Kaji’s talent, but she’s gorgeous as usual. Chiba looks like he ran off from the set of a Yakuza Deka film and started dealing girls instead of catching bad guys. It’s nice to have him here, although the finale is his only real standout. Unlike in the 1st film, there’s not much of ninkyo influence left in this production, and perhaps that was for the best.

* Original title: Gincho nagaremono mesuneko bakuchi (銀蝶渡り鳥 牝猫博奕)
* Director: Kazuhiko Yamaguchi
* Chiba’s role: Major Supporting Role
* Film availability: Synapse DVD (USA), Toei DVD (Japan) (No subs)

Kaji playing againts Shingo Yamashi

Club scene reminiscent of the Delinquent Girl Boss and Stray Cat Rock films

Yukie Kagawa on the fight

Chiba and Toru Yuri

G.I. Samurai

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G.I. Samurai (Japan, 1979)

Sonny Chiba revived his modern action formula from the late 60s / early 70s in this major action film produced by Haruki Kadokawa. It was a new era, however. Gone were the days of Toei’s modestly budgeted production line films, replaced by Kadokawa’s highly commercial production strategy which involved major monetary investments and simultaneous multi format merchandise releases (film, pamphlet, theme songs, novel etc.). The film was budgeted at over one billion yen, which was almost as much as Akira Kurosawa’s Kagemusha (1980) and twice as much as Samurai Reincarnation (1981).

The clever action fantasy mixes science fiction with historical characters. Chiba stars as self defence forces commander whose platoon somehow gets thrown back in time to the 17th century. Luckily for them, all their weapons, equipment, and vehicles (including a helicopter and tank) get transported with them. They find themselves in the middle of a clan war between Nagao Kagetora (Isao Natsuyagi) and Shingen Takeda.

The generous budget has allowed Chiba to design a truckload of great stunt and action sequences. The final encounter between modern soldiers and the samurai is pure war where a tank and a helicopter are destroyed and dead enemies are counted in hundreds. There are some great stunts like Chiba hanging from a helicopter at the speed of 100 kilometres per hour, and Hiroyuki Sanada later climbing into and jumping from the same helicopter. Some of the stunts were filmed using camera attached to a helmet worn by Chiba.

Being a late 70s big budget film, the movie tones down the exploitation imagery somewhat compared to mid 70s. However, there is still a fair amount of violence, sexuality/nudity, unintentionally silly male bonding, and surprisingly dark themes regarding masculine desire for power and domination. Many of these darker shades were actually removed from the film’s butchered US theatrical release, which was cut by almost an hour. The original 139 min version is much preferable and doesn’t really lag despite the running time, except in the closing scene where the filmmakers needed to get closing theme ‘Endless Way’ played in its entirety. In terms of execution the film may not have the punch of Chiba’s best films, but as an action and stunt showcase it’s an entertaining ride.

* Original title: Sengoku jieitai (戦国自衛隊)
* Director: Kosei Sato
* Chiba’s role: Starring Role
* Film availability: Kadokawa SE DVD & BD (JP) (new master) (no subs), Kadokawa Standard DVD (JP) (old master) (no subs), BCI/Ronin Entertainment DVD (US) (new master), Adness DVD (US) (old master), Optimum DVD (UK) (new master) (cut for horse falls)

Hiroyuki Sanada

Hiroko Yakushimaru

Doberman Cop

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Doberman Cop (Japan, 1977)

Kinji Fukasaku’s last crime film for the 70s. This is much different from his nihilist jitsuroku output; a loose adaptation of Fist of the North star author Bronson’s manga. Sonny Chiba is a country bumpkin detective from Okinawa, sent to Tokyo to catch serial killer. The case turns out to be connected with music industry. Chiba enters Tokyo carrying a pig in his bag, begins his investigations by visiting a strip club where he basically gets raped by a dancer, and soon befriends a pot smoking motorcycle gang. He’s also a trigger happy, karate trained badass who doesn’t hesitate to take out bad guys in the film’s effective action sequences. It all plays out like a live action comic book, which may take a while to get used to. Beneath the flamboyant surface, there is Fukasaku’s usual gritty world view to be found, however. The storyline, which links the show biz and underworld, is more interesting than average.

The film was followed by a TV series called Bakuso! Doberman Deka in 1980. The series did not feature Chiba, but co-starred Etsuko Shihomi. In the series the main character was a motorcycle cop.

* Original Title: Doberman deka (ドーベルマン刑事)
* Director: Kinji Fukasaku
* Chiba’s role: Starring role
* Film availability: Arrow BD (US, UK), Toei DVD (JP) (no subs)

Jail Breakers

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Jail Breakers (Japan, 1976)

Sonny Chiba is a master prison breaker in an entertaining, but slightly underwhelming action comedy loaded with impressive stunt work. The film was a return to the “modern stunt action” that had initially made Chiba famous in Key Hunter (1968-1973). The film has a tremendous opening scene in which Chiba escapes a prison by grabbing to ladders from a helicopter, changes his clothes in the air, jumps down to a moving truck and then jumps to another moving vehicle to make the escape. Jackie Chan would do something similar a few decades later in Police Story 3.

The rest of the film is a bit less inspired mix of action, comedy, and criminals taking turns at cheating each other. Writing is sometimes downright lazy, e.g. the scene where a carefully planned escape operation fails and Chiba simply steals a fire engine and drives away (during prison riot) without anyone noticing! Director Kosaku Yamashita was a master of old school ninkyo yakuza films, but he never seemed quite as comfortable with modern day movies. All that being said, it’s still a fun film, and also essentially a family friendly affair with no sex, and only minimal (though slightly bloody) violence.

* Original Title: Dasso yugi (脱走遊戯)
* Director: Kosaku Yamashita
* Chiba’s role: Starring role
* Film availability: VoD (Japan) (No subs) (review format: 35mm / screencaps: TV)

Opening escape. Over 3 minutes of it was shot in a single take just to show you it’s really Chiba doing it all

Detonation: Violent Riders

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Detonation: Violent Riders (Japan, 1975)

Detonation: Violent Riders is the first instalment in Toei’s series of bosozoku biker gang films. Formed by youngsters grown tired of traditional Japanese school and societal systems, the bosozoku gangs received notable media attention in the 1970’s as newspapers and magazines cashed in with the phenomena and even took it out of its original frame. Toei was quick to smell easy box office revenue as the bosozoku hysteria provided an opportunity to combine their established cinematic formulas with a current and talked about real life phenomena. Much like with karate films (The Executioner), director Teruo Ishii got assigned to the job despite his lack of interest for the genre.

Bosozoku’s roots date back to the post WWII years when a new societal problem group arised. Having lived under the war time rule and even an assumption of never returning home alive, such as the kamikaze pilots assigned for a mission that never came to be, some of the war veterans could not return to peaceful life without difficulties. The most extreme of these individuals started looking for new excitement by tuning cars and conducting less than desired, gang type activities on city streets. Inspiration and idols were found from foreign movies such as Rebel Without a Cause (1955). This way of thinking later caught the motorcycle obsessed youth and bosozoku was born.

The first 20 minutes of Detonation: Violent Riders is exactly what one would expect from a Teruo Ishii bosozoku film. Black dressed biker men chase on the streets, perform stunts on bikes and bring public outrage. A leather dressed lady provides the men with physical pleasures out in the nature, and the night is spent partying with topless dancers. Disagreements between men are solved by speeding towards cliff blindfolded. Ishii knows how to make quality cinema.

No high art by any means, Ishii directed the Detonation films as a gun for hire. Easily bored with conventional filmmaking, Ishii spend a notable amount his career – and Toei’s money – for his personal cinematic refreshment. The infamous late 60s ero-guro epics (The Joy of Torture, Inferno of Torture etc.) are only the tip of iceberg in the director’s resume. In the Detonation movies Ishii threw in just about any elements he found potentially entertaining. Very describing of the director’s talent is, that even with this philosophy Ishii managed to deliver several technically competent cult classics. Violent Riders, however, is not among his best efforts.

After a strong start it soon becomes obvious that Violent Riders’ biggest problem is the screenplay which, rather than being full of holes, appears to one big hole in itself. Pieces of poorly attached storyline are hanging somewhere on the sides, ready to fall at any moment. If there is an actual plot to be found, it would probably be the romance between the wild hearted mechanic boy Iwaki (Kouichi Iwaki) and the innocent but gang tied Michiko (Tomoko Ai). The newcomer is quick to make enemies while at the same time his old pals are tempting him to re-join the gang and fight the competing group. The execution of this however, far from dynamic and engaging.

Motorcycle money shots are what Ishii handles without difficulties. Close ups, sunset backgrounds and fast scenes on streets are plenty, even if there isn’t much in terms of bike tuning. Worth a mention is also a jaw dropping truck crash escape stunt that does, however, turn out to be a trick shot with closer look. Far less convincing is the climatic gang war that is little more than a messy display of bikers riding in circle and kicking and punching each other on the way. Thankfully the film’s last few minutes mark an improvement and leave a good taste in the viewer’s mouth.

Next to the bikes Violent Rider’s best offering is the cast. Little known outside his native country, rocker / bike maniac (and soon to become television superstar) Koichi Iwaki handles the lead role well. His manners and looks are a perfect for for a character like this. Heavy weigh support is provided by Sonny Chiba whose beard-faced charisma is an instant hit. Regrettably, Chiba’s role is quite small and his action talent has been notably limited. Most other supporting actors are unknown stars and one-timers – real life gang members by a good guess. Toei was never shy of picking up natural talents from the streets… and most of the time the results were pretty good.

Three sequels followed, the first two of them helmed by Ishii. In Detonation! Violent Games (1976) Ishii drew inspiration from West Side Story and even introduced slight musical elements, resulting in the best film in the series. In Season of Violence (1976) Ishii tried to do a modern sun tribe film in the lines of Crazed Fruit and other 50s classics, but the film turned out quite boring and lacked in action. The relatively decent last film, Detonation! 750CC zoku (1976), directed by Yutaka Kohira (Dragon Princess), shifted some of the focus to cars but still managed the best bike chase in the series. All of the films starred Iwaki. Chiba only appeared in the first film.

* Original title: Bakuhatsu! Boso zoku (爆発!暴走族)
* Director: Teruo Ishii
* Chiba’s role: Small Supporting Role
* Film availability: Toei DVD (Japan) (No subs)

Iwaki

Chiba

Wolfguy: Enraged Lycanthrope

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Wolfguy: Enraged Lycanthrope (Japan, 1975)

This is the holy grail of Sonny Chiba madness. Chiba is the last remaining member of a werewolf clan, and a crime reporter who conceals his true identity from the mortals. The film kicks off with a series of ultra-brutal murders, in which members of a rock band have been slaughtered. The culprit appears to be a woman with supernatural powers. Her skills are demonstrated in the opening scene, were one of the rockers (Rikiya Yasuoka) pretty much explodes into pieces.

There is no other Sonny Chiba film as outrageous as this. The film begins as a psychedelic city noir, then transcends into a science fiction film with mysterious research labs, and eventually reaches for mythical tones as Chiba returns to his birth town in the mountains. Some of the scenes unfolding feature a werewolf vs. werewolf karate fight, a werewolf being created surgically by doctors, and Chiba pulling off the prison bars with his bare hands. It’s bloody as hell and comes with copious amounts sex and nudity as well. And let’s not even get started with the odd mother syndrome as Chiba rubs his face against Yayoi Watanabe’s breasts because she reminds him of his mother!

The mad visions spring from Kazumasa Hirai’s ‘Adult Wolfguy’ graphic novels. Hirai also published the similarly titled but more youthful ‘Wolfguy’ manga that Toho had already adapted into a film in 1973. Toho’s enjoyable adaptation was no children’s film either, but Toei brought the sex and violence to a whole new level. The material was expertly adapted into a screenplay by Koji Takada. The relatively high level of continuity Takada manages to bring into the screenplay is quite shocking in fact. The storyline comes a long way, and the process feels. This is a far more coherent display of mayhem than some other Chiba films, where parts of the movie don’t always connect to each other so well.

Director Kazuhiko Yamaguchi does what he’s best at, delivering non-stop mayhem with occasional beautiful images. Most of his other films, such as Sister Street Fighter and Karate Bearfighter, were very enjoyable; none of them however were quite as great as Wolfguy. Yamaguchi’s usual problem, shaky cam, is thankfully nearly absent here, resulting in lots of fun action. Wolfguy isn’t entirely a karate film, but it was made at the height of the karate film boom, which meant there were a lot of hand to hand fights accompanying gunplay and explosions.

Wolfguy is one of those rare cult movies that not only lives up to its outrageous premise, but exceeds it. It was certainly a hit with the audience at the Sonny Chiba festival in Tokyo, where one poor fella became mentally insane after the film! He sat quietly during the film, but burst into an uncontrollable laughter once the film finished and couldn’t stop. His maniac laughter echoed in the theatre staircase for several minutes. The film’s greatness must have been too much for him to handle.

I saw Wolfguy three times that day. Since it was a double feature with Game of Chance, playing all day, I simply decided not to give my seat away after the first go. After the insanely enjoyable second viewing I initially left for Co-ed Report: Yuko’s White Breasts (1971), which was playing on the other side of the town, but that screening turned out to be sold out, so I headed back to Chiba fest for one more go at Wolfguy, and I didn’t regret one bit!

The fact that there is no DVD or even video release anywhere in the world (update: that will soon change) is a crime against humanity!

* Original Title: Wolfguy: Moeru okami otoko (ウルフガイ 燃えろ狼男)
* Director: Kazuhiko Yamaguchi
* Chiba’s role: Starring role
* Film availability: Arrow DVD / BD (UK/US) (May 2017). Review format: 35mm. Screencaps: TV

The Bodyguard

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The Bodyguard (Japan, 1974) [TV]

Not to be confused with the unrelated Bodyguard Kiba (aka The Bodyguard) films, this karate packed TV series is an undiscovered gem that features some of Sonny Chiba’s best action. Chiba stars as a member of a private bodyguard company established by Ko Nishimura (the priest from Lady Snowblood), brought to Japan after hammering a roomful of Arab villains to death in Middle East. His colleagues are played by karate girl Etsuko Shihomi, Chiba’s brother Jiro Chiba, young nice guy Yuuki Meguro, and dirty fellow lone wolf Yoji Takagi who occasionally joins the gang.

The series, produced briefly after the release of the first Street Fighter film, is basically combination of martial arts action and traditional Japanese detective series format where we often had a group of 4-5 detectives solving crimes. Although not strictly a martial arts series, for these guys karate is usually the solution to any problem, and the action only gets better and more frequent as the series advances. Most episodes feature at least one fight, but many feature two or three fights.

Chiba is fantastic in the series. The fights ar as good as in his films, and are always clearly filmed without shaky camera. They are little short, though. And while the series may lack the excessive bloodletting and sex of Chiba’s mid 70’s films, the action looks and sounds painful. It also says something about the series’ grittiness that a lot of the time the bodyguards fail to keep their client alive till the end. Adding to the effect is a fantastic, badass score.

The 18 year old Shihomi makes perhaps an even bigger impression than Chiba. She has never looked as cute and energetic as she does here kicking guys in the face. She doesn’t get any fights in the early episodes, but becomes a major attraction later on. It’s pretty difficult to curb your enthusiasm when an episode title that roughly translates as “The Roaring Female Dragon of Hokkaido” appears on screen and a miscellaneous bunch of martial arts villains that look like the cast of Sister Street Fighter (released towards the end of the show’s production) are introduced. Hell yeah!

Jiro Chiba gets his share of action as well, and while Yuuki Meguro is not a fighter he turns out to be a sympathetic young guy in suit. Yoji Takagi isn’t too bad either although it takes a while to warm up to him. Guest stars include Pinky Violence actresses Reiko Ike, Ryoko Ema, Yukie Kagawa, and Yumi Takigawa, Roman Porno starlets Yuri Yamashina and Moeko Ezawa, kick boxing legend Tadashi Sawamura, and of course Chiba & Shihomi’s eternal karate nemesis Masashi Ishibashi.

If there is something negative about the series it the uneven and mostly unremarkable writing. Most storylines are decidedly routine, save for a few stand outs. There are also episodes that try too much with drama at the expense of action (e.g. the closing episode), and one rather unbearable comedic episode. Generally speaking the series is relatively free of comedy, except for some funny dialogue between Nishimura and older lady Izumi Yukimura (the owner of a tiny fashion shop operating in the same premises with the bodyguard office). However, in episode 16 some idiot came up with the idea of switching Yukimura for a hyperactive comedic young woman (the actress is credited as “Beaver”). Thankfully she only causes damage to a couple of episodes.

Despite its flaws, The Bodyguard is one of the seminal karate products of the mid 70s. For a Chiba fan it’s a truly exciting discovery that deserves far wider recognition than it has been getting.

* Original title: The Body-Guard / Za bodigaado (ザ・ボディガード)
* Director: Kazuyoshi Yoshikawa, Hideo Tanaka, Koichi Takemoto, Yasuo Furuhata etc.
* Chiba’s role: Starring role
* Availability: Toei DVD (to be released May 2017) (no subs). Review format: TV.

Chiba and Nishimura

Etsuko Shihomi and Jiro Chiba

Shihomi and Yuuki Meguro

Shihomi kicking arse

Shihomi vs. Masashi Ishibashi

Chiba being his usual mean self

This double-episode was shot in the US

Chiba being mean in Nevada

Jiro Chiba

Yuri Yamashina

Reiko Ike

Tadashi Sawamura

Shihomi!

Tokyo Seoul Bangkok Drug Triangle

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Tokyo Seoul Bangkok Drug Triangle (Japan/Korea/Thailand/Hong Kong, 1973)

Sonny Chiba stars in this major Asian co-production based on the thoughts and ideas of the anti drugs/prostitution/sexually transmitted diseases campaigning businessman / political figure Tsusai Sugawara, who had previously inspired the two Narcotics / Prostitution G-Men films (1972). Tokyo Seoul Bangkok was a loose follow-up, with Chiba playing an ordinary man instead of a narcotics detective, and the storyline taking place in four Asian countries: Korea, Thailand, Hong Kong, and Japan. Co-stars came from each country, and multiple edits of the film were produced for different markets.

The film opens in South-Korea, with truck driver Chiba arriving Seoul to receive his dead sister’s ashes. While there, he discovers the death may not have been an accident after all, and has something to do with international drug smuggling. Chiba receives help from a Korean detective (Choi Bong, delivering the film’s only martial arts moves) to track down his sister’s runaway gangster husband (Hiroki Matsukata) and his Korean lover (Kim Chang-Suk). The chase takes Chiba first to Hong Kong and eventually Thailand, where Chiba hooks up with a bilingual woman (Nora Miao) and a local tough guy (Chaiya Suliyun).

Tokyo Seoul Bangkok has long been a sought-after movie for its fantastic cast, but those few who have seen it have sometimes been left a bit underwhelmed. This is more due to false expectations than the film, although the latter is also at fault. Tokyo Seoul Bangkok is not a martial arts movie, and it’s not even very much an action movie as the filmmakers aim for more realistic crime drama/thriller. While that’s quite fine, it is also true that with the level of action talent involved, the viewer can’t help but to wish there were some more outrageous action sequences. This is especially true when some of the scenarios are, in fact, a little too wild to feel entirely realistic. Also, as a drug thriller, it is not as good as for example A Narcotics Agent’s Ballad (1972).

On the positive side, the storyline is very good and the film remains interesting from start to finish. Locations are well used, especially in the Thai sequences, which are both exotic and atmospheric. This is partly due to the beautiful score by Ichiro Araki, which is also used to create some powerful images when the camera lingers on Chiba’s desperate, badly bruised face. The supporting cast is interesting as well, the real stand outs being Nora Miao and Hiroki Matsukata. The latter’s portrayal of an ultra-stylish gangster may be at odds with the film’s intended realism, but he’s so cool the viewer won’t mind. The same can be said about one great action sequence in Thailand.

There’s a lot of history to the production. First of all, it was the first film Chiba made after finishing the Key Hunter TV series (1968-1973), marking the beginning of a new era on his career that allowed a stronger focus on films. Tokyo Seoul Bangkok was also one of the two major drug trafficking themed Asian co-productions that had been planned for 1973, the other having been The Shrine of the Ultimate Bliss. The latter was to star Bruce Lee, Sonny Chiba and George Lazenby, but by the time Chiba arrived Hong Kong, Lee had just passed away (the project was eventually completed in heavily modified form and with a new cast as “Stoner”). It is likely (but unconfirmed) that the planned meeting between Chiba and Lee was scheduled to take place while Tokyo Seoul Bangkok was filming in Hong Kong.

The Lee connection is probably the reason why the film co-stars Nora Miao, whose open cleavage may come as a delightful surprise to the fans of her Hong Kong films. It’s a lot of fun to see Chiba and Miao act together, although the kiss suggested by one of the promotional stills is not found in the film, at least not in the Japanese cut (which is the only cut is available at the moment). If it did take place, it would surely make Miao the only woman in the world who has kissed both Bruce Lee and Sonny Chiba!

Tokyo Seoul Bangkok Drug Triangle is a fascinating, even if slightly underwhelming piece of cinema that can be quite enjoyable when approached with realistic expectations. It’s not the lost action classic some wished it to be, but it’s an atmospheric and entertaining crime drama with a good storyline.

* Original title: Mayaku baishun G-Men: Kyofu no niku jigoku (Tokyo-Seoul-Bangkok: Jitsuroku Mayaku Chitai)
* Director: Sadao Nakajima
* Chiba’s role: Starring role
* Film availability: VoD (Japan) (No subtitles)

Choi Bong

Matsukata

Chaiya Suliyun and Nora Miao

Yakuza Wolf: Extend My Condolences

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Yakuza Wolf: Extend My Condolences (Japan, 1972)

A strange follow-up for having almost nothing to do with the original film. This one is more in line with the Yakuza Deka action comedies, albeit with a little less humour and action. Chiba is a clean shaven, suit wearing small time goon betrayed by a big shot yakuza. After his release from prison, he and pal Tatsuya Fuji start planning a heist/revenge plot against the yakuza. Former Nikkatsu director Buichi Saito (who also directed the 4th Lone Wolf & Cub film) keeps the film in constant move, but he doesn’t have a the kind of unique script the first film had to work with. Hence, no spaghetti western imagery or surreal visuals here. There is still plenty of fun to be had, though, including some nice stunt work and a catchy theme song by Chiba. Reiko Ike, finally 18 for real (she had been lying about her age when she appeared in her first movies), plays Chiba’s ex-girlfriend. She doesn’t have much else to do than sing and show her breasts, but it’s nice to have her in the film.

* Original title: Ookami yakuza: Tomurai wa ore ga dasu (狼やくざ 葬いは俺が出す)
* Director: Buichi Saito
* Chiba’s role: Starring role
* Film availability: None (review format: TV)