Also known as: Koroshi no rakuin (Japanese)
Release Date: June 15th, 1967 (Japan)
Directed by: Seijun Suzuki
Written by: Hachiro Guryu
Music by: Naozumi Yamamoto
Cast: Joe Shishido, Koji Nanbara, Annu Mari, Mariko Ogawa, Hiroshi Minami
Nikkatsu, 98 Minutes
“This is how Number 1 works: first he exhausts you, and then he kills you.” – Number 1
While I have only seen a handful of Seijun Suzuki’s motion pictures, he has become one of my favorite directors of all-time. Between this and Tokyo Drifter alone, he has proven to me that he is a true auteur with an incredible eye, an enchanting style and impeccable craftsmanship.
I thought Tokyo Drifter was one of the coolest, if not the coolest, movies I have ever seen. Branded to Kill is nearly as cool and just as perfect as Tokyo Drifter.
Suzuki has a way of taking something pretty standard like a Yakuza picture and making it much more interesting than it needs to be. But that is also why his films are so unique and incredible and not just forgettable chapters in a massive genre of Japanese cinema.
The bizarreness of this film can’t be understated. The main character is an assassin for hire and is ranked Number 3. He is in a battle with the other ranked assassins throughout the film but is specifically being targeted by Number 1. He also has a fetish that sees him obsessively inhaling the aromas of freshly boiled rice.
The movie is mostly a series of assassin battles playing out, as these killers try to outwit and survive one another. The story also has strong film-noir elements in its visual style, use of a femme fatale and constant twists and turns. It is one of the most artistically sound Japanese neo-noirs of all-time, right alongside Suzuki’s Tokyo Drifter.
It is easy to see where some other noteworthy auteur directors were influenced and inspired by Suzuki’s work here. The film almost has some David Lynch qualities too it, decades before Lynch really emerged and crafted his own interesting oeuvre. It would also influence John Woo, Chan-wook Park, Jim Jarmusch and Quentin Tarantino.
Interestingly enough, this film made no money upon its release and Suzuki was fired for making films that “…make no sense and no money.” Suzuki successfully sued the studio and caused a major controversy within the Japanese film industry, which resulted in him being blacklisted. He didn’t make another film for ten years and became a sort of counterculture hero. Because of this, he became recognized as an artist with something more to say than just a standard director pumping out low budget gangster movies for a paycheck.
Nowadays, this film is heralded as an incredible body of work and even has its own Criterion Collection edition.
Over thirty years later, Suzuki filmed Pistol Opera for Nikkatsu, the studio he had the falling out with. That film was a loose sequel to this one.
Pairs well with: Seijun Suzuki’s Tokyo Drifter, as well as some of his other films: Youth of the Beast, Pistol Opera and Gate of Flesh.