Takeshi Kitano and the Reinvention of Japanese Yakuza Films
Takeshi Kitano’s Yakuza Films and the Redefinition of Heroism
In this article, we will explore how Takeshi Kitano, who has also made a name for himself as a film director, fundamentally changed the conventions of traditional Japanese cinema. To do so, we will first unravel the history of yakuza films and their evolution.
In the early 1980s, Japan experienced a major boom in the comedy scene known as the "manzai boom." Riding this wave, Kitano began his career as part of the duo "Two Beat," quickly rising to the top of the comedy world.
Despite his rapid success in comedy, Kitano ventured into acting in the 1980s. He gained particular recognition for his role in Nagisa Oshima's Merry Christmas, Mr. Lawrence (1983), where he starred alongside Ryuichi Sakamoto and David Bowie.
Then, in 1989, Kinji Fukasaku—who was initially set to direct Violent Cop—stepped down due to scheduling conflicts. Seeing Kitano’s popularity and unique sense of creativity, Shochiku, the film’s distributor, offered him the chance to direct. This marked the beginning of his career as a filmmaker.
Following his directorial debut, Kitano gained international recognition with films such as Sonatine (1993), which was well received at the Cannes Film Festival, and HANA-BI (1997), which won the Golden Lion at the Venice Film Festival. These works firmly established his reputation as a director.
The phenomenon of artists from other industries transitioning into film was particularly prominent in Japan around the 1990s. Preceding Kitano, there were pioneers such as Kinji Fukasaku, who started as a stage actor before becoming a director in the 1970s, and Nobuhiko Obayashi, a former commercial director who had a significant influence on Japanese cinema in the 1980s.
Kitano, as part of this trend, brought his multi-creative talents to filmmaking. His ability to reflect contemporary trends in comedy translated into his films, but with a distinctly rebellious spirit. This is what set him apart from other filmmakers. In fact, when Kitano first started directing, he openly admitted that he had watched very few films before that point.
Let’s first examine his yakuza films. This characteristic extends beyond just yakuza films, but a defining feature of Kitano’s works is that his protagonists are never glorified—they ultimately meet their demise.
For crime films, we have Violent Cop (1989, その男、凶暴につき) and HANA-BI (1998). In the yakuza genre, there are Sonatine (1993), Brother (2001), and the Outrage series (2010–2017).
Kitano’s approach may seem unusual when viewed in isolation, but it stands in contrast to the traditional conventions of Japanese yakuza films, where protagonists were often glorified and deified as heroes of their time.
The golden age of yakuza films in Japan was relatively short-lived, spanning only about a decade from the mid-1960s to the early 1970s. This boom was largely driven by a single company: Toei.
Toei’s yakuza films deliberately omitted detailed depictions of yakuza society, instead focusing on crafting heroic figures who embodied a rebellious spirit. Some of the most iconic actors who personified these heroic yakuza were Ken Takakura, Koji Tsuruta, and Bunta Sugawara.
In terms of timeline, Koji Tsuruta led the genre in the mid-1960s, followed by Ken Takakura from the mid-1960s to the early 1970s, and Bunta Sugawara in the early 1970s. While their films are rarely available with subtitles, here are some key works for reference:
Koji Tsuruta starred in the Jinsei Gekijo: Hishakaku series (人生劇場 飛車角), which began in 1963.
Ken Takakura took over with Nihon Kyokakuden (1964, 日本侠客伝) and the Showa Zankyo-den series (1965, 昭和残侠伝), which ran until 1972. Nihon Kyokakuden had 11 films (until 1971), while Showa Zankyo-den had nine, both of which enjoyed massive popularity.
In 1973, as the popularity of Takakura’s films declined, Kinji Fukasaku’s Battles Without Honor and Humanity(1973–1974, 仁義なき戦い) was released, starring Bunta Sugawara.
By the time Battles Without Honor and Humanity came out, it was no longer possible to glorify a single actor as the sole heroic figure. This shift was reflected in the film’s unique narrative structure, which, while having a central protagonist, also featured numerous prominent characters vying for power. Once this series concluded, audience interest in yakuza films rapidly waned, and Toei’s dominance in the genre faded.
Why, then, did yakuza films enjoy popularity for only about a decade before sharply declining? A key factor lies in the socio-political climate of the time: the rise of student protests.
In a way, the yakuza film boom was deeply intertwined with the radical energy of Japan’s late-1960s student movements, particularly the protests against the Japan-U.S. Security Treaty (安保闘争). Young people at the time were engaged in seemingly unwinnable struggles against absolute authority, facing an uncertain future.
Toei tapped into this sentiment by presenting yakuza as figures who prioritized personal gain over conventional morality, embodying a sense of defiance against the system. The combination of this theme and Ken Takakura’s dignified presence captivated young audiences, leading to a surge in popularity.
However, once student movements began to decline—culminating in the failure of the 1970 protests against the renewal of the security treaty—the youth lost their revolutionary spirit. Consequently, the glorified yakuza archetype also lost its appeal, leading to the rapid decline of the genre.
Understanding this context highlights the significance of Takeshi Kitano’s emergence. He appeared at a time when yakuza films had entered a long period of stagnation. Having not been heavily influenced by past films, Kitano approached filmmaking with an unfiltered perspective, focusing not on cinematic conventions but on capturing the raw essence of contemporary society. This approach resonated deeply with modern audiences.
Kitano’s frequent depiction of protagonists meeting their end reflects the broader societal shift that occurred after the 1990s, when the idea of a single deified figure lost relevance. His films symbolize the arrival of an era without traditional heroes.
Through Kitano’s work, one can sense a profound rupture in the historical trajectory of Japanese cinema.