Koroshi no Rakuin: An eccentric rebellion in movie form.

 

Something I've been finding myself wanting to do a lot more these days is delve into the depths of classic cinema and rediscover gems and any movies or dramas of great interest for one reason or another. Retro Retrospectives/Reviews as I shall henceforth refer to them, can be rather fun, especially as a form of escapism. There's not much out there more fitting for such a series than Seijun Suzuki's rebellious absurdist action comedy from 1967, Branded to Kill/Koroshi no Rakujin. That particular movie is fascinating due to a number of reasons, not just because of Suzuki's refusal to play ball with Nikkatsu and subsequent firing.

The movie's protagonist, Hanada, is the number 3 ranked hitman. Above him there are only 2 people in the business. Hanada's friend, Kasuga, a former hitman who has since turned into a taxi driver, has recently lost his nerve and lacking confidence, reaches out to Hanada for aid in getting back into the business. Shortly after, the two are approached by Yakuza boss Yabubara when in his club. He offers them the job of escorting a client from Sagami Beach to Nagano. Whilst travelling via car, the trio are ambushed and a deadly shootout erupts that results in the deaths of Kasuga and Koh, the number 4 ranked hitman. The client and Hanada are then ambushed again and this time, it results in the death of the number 2 ranked hitman, Sakura. After successfully completing the task, Hanada then receives orders to kill 4 men. He succeeds in killing 3 of them, but botches the 4th due to a butterfly landing on the barrel of his gun. This failure results in him becoming the target of a kill-order himself with several people attempting to kill him. The list includes an exotic beauty whom had offered him a ride following his car breaking down, Misako. Hanada's own wife, Mari, who is having an affair with the aforementioned Yakuza boss, even has a go at murdering her husband. Of course, the most dangerous assailant of them all is the number 1 ranked hitman. 

Now, that plot might seem straightforward for 8 screenwriters and Nikkatsu's B-movies, but Seijun Suzuki was determined for it to be anything but. Despite orders and pressure from Nikkatsu to film a clear, concise and straightforward hitman movie, Suzuki and his collaborators intentionally defied the company. The eccentric director refused to do storyboards and any real pre-planning as he preferred for only the director to know what is going to happen. The very bizarre obsession with the smell of rice that Hanada has was one such flash of inspiration that Suzuki came up with whilst filming. Another of the bizarre moments that is downright ridiculously comedic is the scene in which Hanada escapes through a window, landing on a balloon that takes him up and away.

Perhaps the most eclectic thing of all is the rather unique way in which the movie is edited. Scenes are cut up in such a manner that it seems rather disjointed at times and purposely so. For example, one moment Hanada is ducking for cover behind a fence and the next he's in a car. Things shift and contort rather than blend together smoothly and seamlessly. It's certainly an acquired taste and one that takes some getting used to. It's like Suzuki deliberately set out to do what you are told not to do when making movies. 

An argument could be made that Branded to Kill/Koroshi no Rakuin is a chanbara set in the modern (as of the time it was made) era. There's certainly parallels there. A lone ronin whom demonstrates his skills via the gunfight that occurs whilst on yojimbo/bodyguard duty. The constant referring to one's rank within the hitman system is another example. His botched job which forces him to take down a multitude of assailants before a final showdown with an incredibly skilled foe. 

One thing that works incredibly well in the movie is some of the gorgeous cinematography. Some shots in the black and white look absolutely delightful. The expert use of lighting and framing in shots such as the one in Misako's apartment when she if in the foreground slightly blurred whilst Hanada sits, enshrouded by the butterflies in the background, make for a visual treat for the eyes.  

Nikkatsu wanted to make Joe Shishido a star. Perhaps that is the one thing that Seijun Suzuki actually set out to do that complied with the studio's demands. Shishido fully embraced the role of Hanada, putting his heart and soul into the demanding role. He was noted as being incredibly determined to make the action scenes as interesting and physical as possible, which is always a plus. His acting brilliance comes across, particularly in the latter stages of the movie, wherein Hanada starts to psychologically unravel. 

Annu Mari was both utterly captivating and stunning in the role of the deadly Misako. Having had suicidal urges at the time, Mari felt a connection to the role upon reading the script, learning about the character and especially upon reading the line "My dream is to die." She lights up the screen whenever she appears, brooding and mysterious. The many butterflies and birds which she surrounds herself with could be seen as symbolic of her obsession with death. The same obsession that leads to her becoming close to Hanada. 

Conversely, Mariko Ogawa put in a splendid performance as the terrible wife of Hanada. Mami was not a particularly sympathetic character when you break down her role. A woman in a volatile relationship that is driven by exhibitionism and sex. Mostly the latter. Still, Mariko Ogawa's hysteria is wonderful to witness in the pivotal scene with the husband and wife. 

Upon it's release in theatres back in June 15th 1967, the movie flopped miserably with critics left utterly baffled and confused, labelling the movie nonsensical. Despite Suzuki's anarchic approach to movie-making appealing to a large following of rebellious crowds including the Cineclub Study Group, it was the final straw for Kyusaku Mori, head of Nikkatsu. It's surprising that it took until April 25th 1968 for Hori to fire Suzuki. However, a twist would emerge as Suzuki with the aid of Cineclub and other loyal fans, filed a lawsuit against Nikkatsu for wrongful termination. The three year-long lawsuit proved to be devastating for the company as the circumstances regarding Suzuki's firing and the filming process of the movie came to light. As it had turned out, Suzuki was made an example of due to being used as a scapegoat for Nikkatsu's poor financial situation. On December 24th 1971, a settlement was reached. Most notably, Hori issued a public apology to Suzuki. 1 million yen was a mere fraction of the amount Suzuki had claimed in the lawsuit, but it is what was settled upon. Suzuki achieved legendary status as a result of the lawsuit, but unfortunately was blacklisted by all of the major film studios. Still, in the 1980s, Suzuki would have the last laugh as the movie reached international audiences and became a cult classic. It even influenced the likes of directors John Woo, Johnnie To Park Chan-wook Quentin Tarantino, Wong-kar Wai and Jim Jarmusch. The last of which paid homage to the scene in which Hanada kills the orthopaedist by shooting him through the sink drain by recreating it in Ghost Dog: Way of the Samurai. It also influenced Takeshi Kitano's Getting Any? As well as Sabu's Postman Blues. Also of note is how it influenced the beloved long-running franchise of Lupin III. 

Overall, Koroshi no Rakuin/Branded to Kill is a movie that fascinates me, not just for the movie itself, but for the history surrounding it. Whilst I don't really vibe with the zany nature of the editing process, I can still find many aspects of the movie to appreciate from the cinematography to the performances of the cast. In fact, one of my favourite things about it is the psychological warfare waged between the two main adversaries. It's really well done. I would give a recommendation to try seeing if the movie is for you just due to the history behind it alone.