Category Archives: Role: Starring

Karate Bearfighter

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Karate Bearfighter (Japan, 1975)

A very enjoyable sequel packs loads of action but almost no plot. Chiba is his usual badly behaving self as Oyama, who seems not have learned anything from the previous film’s events, and all the better for it. When he isn’t working as a yakuza bodyguard, he’s picking up fights at local dojos. He finally gets a grip of himself and travels to Hokkaido, where he befriends a little boy, but his enemies won’t leave him alone. He also agrees to fight a bear for money.

Unlike in the previous film where Chiba battled a real bull, this time we’re treated a remarkably unconvincing man in a bear suit. It’s silly, but at least you don’t have to feel sorry for the poor animal. The rest of the action is fast, fierce and plentiful, but once again slightly hurt by shaky camerawork.

The biggest issue in the otherwise entertaining film is the lack of a plot, which leaves the storyline without a clear aim. The film is lots of fun whenever there is action, but there is also a clear drop in the interest curve whenever the film shifts to a storytelling mode. Chiba’s earlier and more accomplished martial arts biopic Killing Machine wasn’t terribly plot driven either, but featured much better character drama.

* Original Title: Kenka karate gokushin burai ken (けんか空手 極真無頼拳)
* Director: Kazuhiko Yamaguchi
* Chiba’s role: Starring role
* Film availability: Adness DVD (USA), Toei DVD (JP) (no subs)

Screencaps from the Adness DVD:

A little bit more for Karate Bearfighter from the Toei DVD

Original Teaser

Masutatsu Oyama (middle) instructing a fight scene

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Karate Bullfighter

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Karate Bullfighter (Japan, 1975)

Sonny Chiba portrays his own master, kyokushin karate founder Masutatsu Oyama, is this excellent karate biopic, which obviously takes some liberties from the facts. The film is a live action adaptation of the Oyama comic books written by Ikki Kajiwara. Apparently master Oyama did not mind being portrayed as a brute and an “accidental” rapist – all of which worked to the film’s benefit.

Chiba is at the top of his game here. He portrays Oyama as a man who attends a karate tournament, beats all opponents, and then throws away the trophy because he thinks sportsman karate is for pussies! The fights are generally excellent and very physical, although they do suffer from some needlessly shaky camerawork (probably influenced by the documentary style yakuza films of the era). Chiba also fights a real bull – something Oyama also did.

Director Kazuhiko Yamaguchi was never much of a storyteller, and that’s the film’s biggest flaw. It feels very episodic, making the film sometimes feel longer than it is. There’s a bit of love story, a bit of rivalry with nemesis Masashi Ishibashi, a bit of melodrama as Oyama kills a drunken man and then tried to make it up by taking care of his wife and child, and so on. One can sense the film tried to combine the juiciest parts of its source material without emphasizing coherence too much.

Chiba’s brother Jiro Chiba (who later starred in the excellent The Defensive Power of Aikido, 1975) plays a major supporting role as Oyama’s apprentice. Chiba returned later the same year for an even better sequel Karate Bearfighter.

* Original Title: Kenka karate kyokushin ken (けんか空手 極真拳)
* Director: Kazuhiko Yamaguchi
* Chiba’s role: Starring role
* Film availability: Adness DVD (USA), Toei DVD (JP) (no subs)

I don’t have many screencaps for this, so please forgive me for not doing the film justice.

Sonny and Jiro

Killing Machine

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Killing Machine (Japan, 1975)

Sonny Chiba stars as Doshin So, the founder of Shaolin Karate, in this superb martial arts film set immediately after WWII. It was the first of the many martial arts biopics made in 1975 that brought the genre to a higher level by focusing not only on the violent mayhem, but also on the more philosophical aspect of martial arts. This one was easily one of Chiba’s best directed movies with excellent pacing, strong focus on a well written storyline, and a very good leading performance by Chiba. There may be a few crying orphan child too much, but a bit of melodrama only works to the film’s benefit and there’s a suitably epic feel to the film. The production values are better than in most Chiba films, with limited but entirely functional sets capturing the atmosphere of the mid-1940s Japan. The fight scenes are terrific as well: fast, hard hitting and filmed with steady hands. Highly recommended.

* Original Title: Shorinji kenpo (少林寺拳法)
* Director: Norifumi Suzuki
* Chiba’s role: Starring role
* Film availability: Adness DVD (USA), Toei DVD (JP) (no subs)

A little bit more for Killing Machine from the Toei DVD

Great teaser trailer with Chiba practicing in front of Doshin Do

Doshin Do

Photo gallery

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!

The Executioner 2: Karate Inferno

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The Executioner 2: Karate Inferno (Japan, 1974)

Director Teruo Ishii was never keen on making karate movies, but the studio had him direct one with The Executioner (1974). Ishii responded by delivering an over the top action sleaze fest, which was probably more enjoyable than Ishii ever intended. Much to his shock, it was a commercial success and Toei had him make a sequel, which Ishii turned into a madcap action comedy.

In Karate Inferno the same old gang is back, supposed to save a kidnapping victim this time, but when the deal goes, bad they decide to rob their employer instead. There isn’t quite as much action this time around since half of the film consists of Chiba (asshole ninja), Makoto Sato (asshole ex-cop) and Eiji Go (asshole pervert) taking the piss out of each other and molesting Yutaka Nakajima. The jokes are crude but funny, the soundtrack is fantastic, and there’s some great action at the end of the film. Oh, and this is the film that features Chiba saving his pal, whose clothes have caught fire, by pissing on him. Top grade entertainment.

The film contains quite a few film reference jokes, many of which may not be understood by most foreign viewers. For example, in the prison scene we see Kanjuro Arashi as Onitora – the character he played in Ishii’s Abashiri Prison series. Chiba also appeared in the 4th and 6th Abashiri Prison film, which is why he recognizes the character!

* Original Title: Chokugeki jigoku-ken: Dai-gyakuten (直撃地獄拳 大逆転)
* Director: Teruo Ishii
* Chiba’s role: Starring role
* Film availability: Adness DVD (USA), Toei DVD (JP) (No Subs)

Kanjuro Arashi

The Executioner

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The Executioner (Japan, 1974)

By mid 1974 karate films had proven so popular that even directors who didn’t want work with the genre were ordered to make some. Such was the case with madman Teruo Ishii, who made The Executioner one of Chiba’s trashiest pictures. The hit squad flick features ninja descendant Chiba, ex-cop Makoto Sato, and death row convict Eiji Go hired to wipe out a drug cartel. Former police chief Ryo Ikebe and his assistant Yutaka Nakajima are behind the assignment.

Ishii was bored with the project, so he filled it with extreme violence, sex, and crude jokes – and let’s not even get started with the hilariously degrading treatment of every single female character in the film. One of the highlights features Chiba having a go with his half-dead opponent’s naked girlfriend while the poor man is taking the count on the floor. Another scene features rock star gone actor Rikiya Yasuoka biting a man’s ear off.

Chiba is in his usual manic swing, frequently using exaggerated violence against his opponents, sometimes landing 17 extra blows after the opponent is clearly ready to drop dead. It’s a fun show, even if the fights are not quite Chiba’s best. Yasuaki Kurata, in a full Bruce Lee mode, joins the cast for the final fight. Hiroyuki Sanada appears in the early scenes, playing Chiba’s character in the childhood flashbacks where he’s being trained by a ninja master.

The Executioner is hardly a pretty movie, but that’s exactly where it’s appeal lies. As irredeemable trash it never ceases to entertain, and it works like medicine on broken hearts (tested more than once). The film was followed by an even crazier sequel The Executioner 2: Karate Inferno.

* Original Title: Chokugeki! Jigoku-ken (直撃!地獄拳)
* Director: Teruo Ishii
* Chiba’s role: Starring role
* Film availability: Adness DVD (USA), Toei DVD (JP) (No Subs)

Hiroyuki Sanada

Kurata kicking ass

The Street Fighter’s Last Revenge

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The Street Fighter’s Last Revenge (Japan, 1974)

Unfairly bashed third film tones down the violence and goes for more laid back action fun. This time Tsurugi is a ladies man with James Bond’s sex appeal and Ethan Hunt’s face mask stash. Make no mistake, though, he’s still pretty much an asshole who steals the mafia’s money, throws an enemy fighter in the cremator, and has serious difficulties respecting women. Screenwriter Koji Takada provides some very witty dialogue and insults (“I don’t give a damn if you’re Fire Bird or fried chicken). Action choreography is a bit uneven, but never less than entertaining, and the final fight is quite good. The film also features the best female roles in the series, with Etsuko Shihomi and Reiko Ike looking gorgeous, and the latter managing to breathe genuine dignity and spiciness into her mafia seductress character – a small miracle on the genre. A very enjoyable film although obviously no match for the unforgettable original; just don’t go in expecting a bloodbath.

While the first Street Fighter movie came with a classic English dub, the third movie is certainly best seen in its original form. The American New Line Cinema version not only loses the witty dialogue in the dubbing process, it also heavily alters the storyline (drug dealers instead of corrupt politicians; a drug tape instead of confessions caught on tape, two tapes instead of one tape) and character’s motivations (Shihomi works for police instead of mafia). In a addition, it’s cut and plays many scenes on different order than they should be in (as a result Chiba actually becomes a nicer guy in the US version). What a mess.

* Original Title: Gyakushû! Satsujin ken (逆襲!殺人拳)
* Director: Shigero Ozawa
* Chiba’s role: Starring role
* Film availability: Optimum DVD (UK), HK Video (FR) (FR subs only)

Return of the Street Fighter

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Return of the Street Fighter (Japan, 1974)

The first of the two Street Fighter sequels is a fun grindhouse film that doesn’t reach the greatness of the original, but comes with superior fight choreography. The film also shows in a nutshell why the series enjoys such popularity, and where Japanese karate action was heading in 1974.

The karate films Chiba made in 1973-1974 were all contemporary action films with plenty of martial arts thrown in. However, the genre was heading towards a more serious approach to martial arts, exemplified by the numerous martial arts biopics released in 1975 (e.g. Killing Machine, The Defensive Power of Aikido). Return of the Street Fighter was still an urban action flick, but the amount of martial arts – and martial artists – on display already suggested of the trend.

Despite the rushed production (the sequel hit the theatres less than 3 months after the original) Toei had time to audition 100 martial arts from various countries, 11 of which were chosen to appear in the film, in addition to Masashi Ishibashi, Masafumi Suzuki & his students, and the JAC stuntmen returning from the first film.

The “fighter overpopulation” actually causes the film to lose its story focus early on as we are treated one martial arts demonstration after another. Fans of karate films should not be complaining, but casual viewers may find it a bit too much. However, there seems to have been even more footage than could be fit in the film, as the original teaser trailer features quite a bit of action, training, and promotional footage not found in the film.

For most people the real reason to watch The Street Fighter movies is of course Chiba and the character he portrays. Takuma “Terry” Tsurugi is back and in good form, even if he’s a little less nasty this time. Highlights include Tsurugi taking down a police station’s entire night shift crew in order to assassinate a target held by the police, and Tsurugi walking away from a crime scene with a big smile on his face while a villain is burning in the flames behind him. The film is a perfect example of a cinema era when heroes were allowed to be villains and villains could pass for heroes.

Action fans will also be pleased that the fight choreography is excellent throughout. There are lots of fights, the action is well choreographed, and the most commonly used sound effect is that of a breaking bone. There also a good bit of the series’ trademark ultra violence, such as Tsurugi punching a man in so hard at the back of his head that his eyes pop out.

Story wise the film is a carbon copy of the original – to the extent that the writer of the original film, Koji Takada, has been given a “created by” credit even though he was apparently not involved with the sequel. The film merely switches Chinese triads for New York mafia, avenging death row prisoner for an avenging ex-detective, and a Singaporean sidekick for an Okinawan sidekick (the naturally cute Yoko Ichiji stripped down of her cuteness (sadly not of her clothes), and given a rather irritating character to play).

While the weaknesses somewhat hurt the film, the imperfection also makes the film a more genuine grindhouse type film, with its own trashy appeal. With expectations kept in check, Return of the Street Fighter is quite a bit of violent fun. Oh, and a bit of fun trivia: the bearded hippie mafia boss who appears in the film was played by the young Canadian filmmakers Claude Gagnon, who would later pick up the Japanese Film Directors’ Association’s prize for best director for his Art Theater Guild film Keiko (1979).

* Original Title: Satsujin ken 2 (殺人拳 2)
* Director: Shigehiro Ozawa
* Chiba’s role: Starring role
* Film availability: Optimum DVD (UK), HK Video (FR) (FR subs only), Toei DVD (no subs)

Original Teaser with footage not found in the film

The Street Fighter

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The Street Fighter (Japan, 1974)

This was the film that started the golden age of Japanese karate entertainment. Two important factors should be considered when we discuss the film: timing and talent. Although Chiba had been making action movies since the early 1960s, including a couple of full-fledged martial arts films, Japanese karate films had never really taken off. For years Chiba had to deal with producers and directors who had little to no interest in the fighting aspect. Matters were made even worse by tight filming schedules. Things finally begun to change when Bruce Lee’s Enter the Dragon was released in Japanese theatres in December 1973 and proved a major hit (it was the first Lee film to arrive Japan; others followed in 1974-1975). All of a sudden there was a genuine demand for martial arts films.

The story behind The Street Fighter goes a bit further back than that, though. The production was launched earlier in 1973 after Toei screenwriter Koji Takada had seen a number of kung fu films in Hong Kong (probably during the production of Tokyo-Seoul-Bangkok Drug Triangle) and managed to convince Toei executives that they should produce something similar with Japanese karate. Takada had Toei producers attend an advance screening of Enter the Dragon, which did the trick. Chiba was selected as the star: not surprising considering not only his status as the leading Japanese action star / stunt choreographer, but also his expertise in martial arts.

At first Toei intended the film to be an international co-production, but the Hong Kong studio it was offered to, Golden Harvest, did not take the bait. Perhaps Toei’s understanding of a movie with an international appeal -that is, Chiba killing gangsters from various foreign countries – was not to their liking. This does, however, explain why parts of the film take place in Hong Kong and many of the characters are Chinese (although portrayed by Japanese actors). The budget was cut from the original, but the film went to production and Chiba spent his Christmas holidays filming the movie. The Street Fighter hit the theatres in February 1974, six week after Enter the Dragon.

The Street Fighter was also a movie that could not have been born much earlier – or at least not turn out the way it did – as the necessary action talent had just been discovered a few months earlier. Chiba’s earlier action films had often suffered from the lack of co-stars with martial arts experience who could make good opponents for Chiba. Most of Toei’s action film stars were yakuza film actors who looked good with a gun or sword, but made poor karate fighters. This finally changed when Chiba discovered Masashi Ishibashi, who was cast as a villain in Chiba’s previous movie Bodyguard Kiba 2 (1973). Ishibashi was a real life karate master and Chiba’s senior, who had been acting in movies for a good while already but hadn’t done much on-screen action before. With Ishibashi on board Chiba had finally found an actor who could keep up with the choreographies even when films had to be completed at lighting pace.

The action scenes in The Street Fighter were co-designed by Chiba and Ishibashi (as well as other real life martial artists), who played the film’s famous villain and returned for countless other Chiba films like Karate Bullfighter. There were other real life martial artists involved as well, like the future leader of All Japan Karate Federation Masafumi Suzuki (the older master), pro wrestler Tsutomu Harada (the villain who loses is eyes), and kick boxer Ken Kazama & karate man Yushiro Sumi (as two bodyguards). Chiba’s brother Jiro, who later went on to star in The Defensive Power of Aikido (1975), and Chiba’s protégé Etsuko Shihomi, who would become the biggest Japanese female martial arts star of all time, are also featured in minor roles. Furthermore, Chiba’s real life master Masutatsu Oyama’s influence can clearly be seen in the film: although he does not appear on screen, his thoughts are obviously echoed in the opening scene where Ishibashi criticizes the state of modern karate.

The Street Fighter also became an unforgettable showcase of Chiba’s anti-hero charm and ultra-violence. Chiba was given relatively free hands at creating the main character, a badass mercenary called Takuma Tsurugi. Chiba drew influence from the psychotic yakuza villain he had played in Kinji Fukasaku’s yakuza film Battles Without Honor and Humanity: Hiroshima Death Match (1973), but made the character a little less evil this time. He also added his own brand of Oyama influenced fighting, which was faster and more brutal than the extended and balletic fighting scenes seen in many Kong Kong films. What resulted was 90 minutes of cinematic badassness that remains one of the most enjoyable action films of the 1970s. It was also very successful upon its release in both Japan, where Chiba toured theatres giving action demonstrations, and the US, where the film was even featured in the Playboy magazine, probably due to having been the first movie ever rated X for violence alone by MPAA.

For better or worse, The Street Fighter has characterized Chiba’s reputation ever since and made him a cult hero all around the world. However, his best work as an on-screen martial artist was still to come. The Street Fighter was still a contemporary action film where, for the most part, gunplay had merely been replaced with martial arts. This was no doubt largely due to Toei, as well as their filmmakers from screenwriter Takada to director Shigero Ozawa, being veterans of yakuza films rather than martial arts movies. It wasn’t until the next year when Chiba’s martial movies found their purest form in films like Killing Machine, Karate Bearfighter and The Defensive Power of Aikido, all of which were biopics of real life martial artists.

Side note: there is some confusion regarding Chiba’s side-kick character calling him “darling” throughout the film in the Japanese language version. The word is actually not “darling”, it’s “talen” which is Chinese for “master”. This makes perfect sense since the character is supposed to be Chinese or Singaporean, whose life was saved by Chiba. The Japanese mispronunciation of the term has, however, fooled many viewers and added unintended homosexual sub-context. It’s quite amusing indeed, especially when the character even cooks Chiba’s meals and does his laundry; however, it’s all a misunderstanding.

* Original Title: Gekitotsu: Satsujin ken (激突! 殺人拳)
* Director: Shigehiro Ozawa
* Chiba’s role: Starring role
* Film availability: Optimum DVD (UK), HK Video (FR) (FR subs only), Toei DVD (no subs)