Purpose: Survival Young and green, the fighter Makio Miesi, tries to become an exemplary yakuza in the Yamamori clan - having in the post-war town of Kura of Hiroshima Prefecture its criminal and business interests; having received an order, for all the possibilities, does not finally fail Hirota Assad - the head of another local, eponymous, rival group. With all this, the case did not burn out, the law is the law, and in the name of the clan, for what he did, Miesi goes to prison to serve in a slave eight years thrown into a cage.
During this time, a lot of water flowed, the homeland rose from the post-war knees, Yamamori’s capital gained overwork, gained weight, and there was still an alluring and stray unopened edge of work around. The family itself is dominated by intrigues and disagreements. The old man Yamamori fears that the leading role of the Yakuza No. 1 in the clan, wants to take over the hand-stuffed boss Naotake Aoki, he as his planted and shook brother in the Makio Miesi gang, was once in the dashing henchmen of the owner. Aoki, disillusioned with Yamamori’s big boss, begins to pressure him, impose his clutches of domination and cross the boundaries of control, trying first to send an old lump in any form to the archive. The troubled Yamamori, in turn, wants to incite the ineradicable Makio Miesi, who has just emerged from prison, against the disobedient imaginary side. Having arrived after serving Makio - no matter how hard it is, there is his head on his shoulders and a correct calculation, without making hasty conclusions, by a loyal location, he intends to put everything in place, significantly clarify the reason for the internal discord that is taking place, to understand the feints of intrigued soups, pouring fuel into the fire now and then.
Kinji Fukasaku, without putting his hands down and not letting him come to his senses, detonates another trilogy - the life-being of the rabid yakujishis everywhere, not raising, but landing the wicked scoundrels, stepping over their cinematic archaic nobility. A completely distinctive, unrelated to the Jingi naki tatakai saga, an original series of stories, separate from each other, shot in a favorite visual manner, opens. Plus, for us survivors, Fukasaka in the first series a little moved away from the previous total-documentary style of the chronicle predecessor and went on a proven path adding a humorous intonation a la “Street Bandit” Gendai yakuza: hito-kiri yota, in the process being again in the ladies. But still, Fukasaka is furious and angry in the cinema; in the whole trilogy, as well as in his entire career in the yakuza eiga, you can see firsthand a manual expressive-chaotic master class: from corner to corner, into all the crevices, falling sideways at a “Dutch angle”, stalling shots, focus-pocus from various points and distorted angles, with various plans, the movement of the camera sometimes goes upside down – eyes run away. Squeezing into the frame under the tie, a considerable number of burning and horny characters. On the face of the signature Fukasaku and Ko, who breathed life into the subgenre of "jitsuroku" in the entire genre of yakuza eiga, which differs from the characteristic romanticizing rules of the subgenre "ninke", at that time the order of the dull, going down and down, and resigning. Fukasaku is extremely adept at showing the sprawling organized crime and profuse violence characterizing the genre, ending the stories with a meaningful inevitable doom. In his genre, he has no equal, his films are provocative, talk about their time and do not complex.
The good old, time after time, from film to film, the classically colorful cast of the demanding Fukasaku. The versatile Nobuo Kaneko, with his hilarious natural coloring of his voice, almost from the first minutes gives the role of a completely funny oldper boss Yoshio Yamamori, so despondent to the young female body that it is colossal for him not only a VIP place under the sun, but also some sweet doll, to prune his clicker on Faberge. In the counterweight role of Naotake Aoki - a dog who wants to bite the hand that fed him, made a diverse and versatile star fighter Tomisaburo Wakayama, standing out in both samurai and yakuza films. Kinji Fukasaku described him as “possessing all the qualities for outstanding performance of negative roles ... I would compare him to the classic “cool guys” like Lee Van Cliff and Humphrey Bogart, although Wakayama was not too stylish.” © As Makio Miesi, the textured Sugawara Riot is honed. In each role in his friend Kinji Fukasaku, the actress climbs out of his skin, demonstrating a convincing game with emotions over the edge, protruding on the forehead veins, animal eyes, fighting character and bright individual comic. His Makio Miesi is a cake, every now and then spins draughts with the star of pinky violence Reiko Aik, cuts and boils with his loyal gangster Noboru Kitami performed by Tsunehiko Watase. Here as here, a noticeable grimace of the wonderful Kunie Tanaka, charismatically expressing the letter O. Once the grimaces were very gloriously imitated by Ken Takakura in Abashiri Bangaichi’s Prison. Without a battle, the harsh and decisive Hiroki Matsukata cannot do, to the end, to some extent, conveys greetings under the armpit to the image of Sugawara, to the point of the foreword of the picture. This is complemented by Toshiaki Tsushima’s inseparable music, which is closely related to content and form.