Toei’s Yakuza Film Revolution and Rise of the Yamaguchi-gumi
Toei’s Golden Age and Reflections on Japanese Society
Japanese yakuza movies have been famously represented by Takeshi Kitano over the past 30 years, but the cultural foundation from which they originated was unquestionably established by “Toei (東映)”. Toei was the driving force behind the golden age of yakuza films from 1963 to 1972, producing as many as 235 films within that decade alone and replacing the popularity previously enjoyed by samurai-centric period dramas. Toei did not merely mass-produce these films; it dominated the Japanese film industry from the 1960s through the 1970s, with the content and popularity of its yakuza movies deeply intertwined with the social context of the time. While enjoying yakuza films as mere entertainment is certainly valid, understanding the historical context in which Toei developed and continually released its prolific series of yakuza films allows viewers a deeper appreciation of Japanese cinema than anyone else. In this article, I will explore from a unique perspective the direct societal factors leading to the rise of Toei’s yakuza films, specifically examining the nationwide dominance of Japan’s largest yakuza organization, the Yamaguchi-gumi (山口組), alongside the student movements during Japan’s period of rapid economic growth.
First, it is important to note that Toei originally classified their yakuza movies specifically as “Ninkyo Eiga” (任侠映画). While the terms “Ninkyo” (任侠) and “Yakuza” (ヤクザ) are often used interchangeably, their nuanced differences make them somewhat challenging concepts to fully grasp. Previously on Shitsurae, I provided a partial historical overview of the evolution of the yakuza to aid in this understanding. The core ideology behind these Ninkyo films is the aesthetic of “Ninkyo-do” (任侠道)—a code defined by helping the weak and confronting the powerful. Kōji Takada, a prominent screenwriter who supported Toei during its golden age, famously stated, “A true yakuza is one who is prepared to risk his life to punish evil beyond the reach of the law.” This encapsulates the essence of the genuinely noble yakuza, an idealized figure significantly different from today’s money-oriented or politically-driven gangs.
In other words, in a reality where common people were forced to silently endure abuses by powerful individuals who evaded justice, the figure of the yakuza who upheld his own form of justice became idealized. During the early 1960s, these “heroic yakuza” became celebrated heroes on the silver screen. This phenomenon occurred because many Japanese, still not affluent in the early days of economic growth following post-war reconstruction, were deeply drawn to this idealized image. Recognizing this societal desire, Toei found its symbol for the early 1960s in actor Koji Tsuruta. In 1963, Toei kickstarted the yakuza film genre with Tsuruta starring in “Jinsei Gekijo: Hisha-Kaku” (人生劇場 飛車角), which became a massive hit. Toei immediately saw a profitable opportunity and devised a strategy of consistently casting star actors and rapidly producing serialized films.
However, as time passed, a disconnect between the idealized heroism symbolized by Tsuruta and the realities of society began to emerge. In particular, the First Japan-U.S. Security Treaty Protests (安保闘争) from 1959 to 1960 and the subsequent social climate, along with a growing awareness of the realities within yakuza organizations, gradually raised doubts among audiences and filmmakers alike regarding whether Toei’s Ninkyo films were overly idealizing the yakuza. Post-war Japanese society, suffering from defeat and experiencing chaos, saw various abuses by stationed American troops go unchecked, leaving citizens deeply dissatisfied. Moreover, not only the American military but other immigrants also posed threats to ordinary Japanese life, yet the police and politicians were ineffectual and incapable of taking action.
In this lawless context, post-war yakuza emerged as a force to maintain public order. They established territories, maintained regional stability, protected civilian life, and violently suppressed unlawful acts by foreigners. At the time, even the police and local authorities relied on these yakuza groups, cooperating closely to facilitate Japan’s recovery from the war. But by the 1950s, as Japan gradually began recovering from wartime devastation, yakuza groups expanded their influence, frequently clashing and increasingly becoming more powerful and larger. Foremost among these organizations was the Kobe-based Yamaguchi-gumi. Leading the Yamaguchi-gumi at this critical time was Kazuo Taoka (田岡一雄).