I've got little to say other than I am a movie buff and This may be the best movie I have ever seen. Oh, I have been watching movies for 60 years. Just in case someone thinks I haven't seen anything.

Two good scriptwriters and a filmmaker whose highest achievement was perhaps the comedy "Tootsie", add to a rather flat and artificial film that is neither a thriller nor a yakuza film, but a complex drama about ethics (with historical resonance, not only of Japan, but of the US-Japan relations) that could have been much better in capable hands. Writer Paul Schrader followed this with his script for Martin Scorsese's "Taxi Driver", while Robert Towne had already written Hal Ashby's "The Last Detail" and --also in 1974-- Roman Polanski's "Chinatown": "The Yakuza" proves how good Scorsese, Ashby and Polanski were, and that Sydney Pollack was a standard filmmaker. I admit that I never liked his films. I even walked out of "Bobby Deerfield". But after all these years, reading or hearing good things about "The Yakuza", I decided to give it a try. In the opening credits, Dave Grusin's supposedly hip score starts the distortion of a tale that, in essence, unravels as it goes through an intricately sinuous labyrinth to reflect on dignity, love, ethics, tradition, betrayal, resentment, death; and furthermore, as I previously suggested, it insinuates, perhaps inadvertently, the bad conscience of a few American citizens who witnessed the assault on Japanese culture by American politicians and military men after the end of Second World War (a subject intelligently dealt by Shohei Imamura in "Vengeance Is Mine"), not to mention the barbaric physical harm done with nuclear bombs. Some persons have also suggested a graver cultural distortion in Pollack's romanticized vision of the Japanese gangsters (for a more reliable portrait of the seedy yakuzas, see "Minbo no onna", the film for which its director Juzo Itami supposedly lost his life), but as the time ran, I could not care less. "The Yakuza" became worse, and when a night club scene arrived in which a singer performed a ballad about the yakuza code, I knew I only had two options. I saw it completely… unfortunately a few days after watching Masaki Kobayashi's masterpiece "Harakiri".

"The Yakuza" is one of those slow introductory films that seems like it will be pure melodrama, but then dramatically turns into full-fledged action served with a side of revenge. Director Sydney Pollack has no fears of educating the nondescript viewer into the world of Japanese culture, specifically that of the renowned Yakuza. Robert Mitchum is our lead, as we travel into Japan to help a friend, reunite with family, and eventually bring down a whole slew of gangsters. This film begins like a simple trip, all the normal stops are made and emotional heartstrings are pulled – it is dull at first. Pollack's introduction into not only the world of the Yakuza, but also into Mitchum's past with our majority characters initially felt heavy. While it was easy to follow these characters, more was needed to make our interaction with them more enticing, or more relevant. The first act of this film pulls out of the gate, with no hope of finishing the race. Mitchum is entertaining as a man knowledgeable of Japanese culture, and because we didn't quite know all of his past, he is captivatingly mischievous. His friends, his possible daughter, his connections with the gangsters, kept my eyes glued to the screen – even if the beginning of the journey jaded me. Then, "The Yakuza" changed.What was at the outset was this uninteresting voyage from point A to point B in Mitchum's past, suddenly (and surprisingly) transformed into this action film, equipped with double-cross, mayhem, and deliciously choreographed fight sequences. It felt as if Mitchum wanted to get his feet we prior to just firing a gun throughout the film, and I don't blame him – but the pace drastically needed to be quicker. Then Pollack introduced us to, whom many consider the "star" of this film, Ken Takakura. My first introduction to this man, I was left desiring more. His stone stare, the pensive ego, the unknown past (both in this film and an actor) brought a fresh page to this story. His quiet demeanor allowed us to understand the Japanese Yakuza culture and comprehend the pride that follows. As Takakura enters this film, it changes. He brings life into an otherwise recycled drama – and I think Pollack knows that. Whenever possible he uses Takakura, and weaves a story that at times feels more about Takakura than about Mitchum. Perhaps the work of Takakura's acting ability, or more the ability that a young Paul Schrader had prior to "Taxi Driver" – this film becomes an important film once Takakura becomes involved.I must admit, this film took several times to get into, especially with the sluggish introduction. I wasn't sold on Mitchum, trying to understand his relationship with everyone else surrounding him – and wondering why at nearly forty minutes we hadn't been properly introduced to the Yakuza yet. Then, like a phoenix in the night – Takakura arrives, and we are handed a powerful film full of betrayal and consequences. Pollack's direction, much like Mitchum's character, takes a moment to warm up, but in full swing, Pollack understands what he is doing and executes without forgiveness. "The Yakuza" is a brilliant film, one of those classic 70s films that I could imagine watching as a child and finding respect for the Yakuza. Like what "Goodfellas" was in the 90s, "The Yakuza" creates that same atmosphere – yet probably less watched. My suggestion – trudge through the first thirty minutes, and be prepared for a film that requires another viewing, an attention to detail, and a combination of both intriguing acting and powerful direction. "The Yakuza" was impressive.Grade: **** out of *****

When visiting Japan, I learned westerners, especially Americans often insult their Japanese hosts easily, yet are hardly ever admonished for their bad manners. Instead, the Japanese pretend as if the infraction is one any child makes and therefore is politely corrected. Honoring their parents by correcting their guests is done in such a way as to bring honor to the task and therefore is not done with any malice. That then is the premise of this film "The Yakuza." Our hero Harry Kilmer, (Robert Mitchum) is a former American soldier who was a Military Police officer during the occupation of Japan. Unbeknownst at the time, he found what he thought was a widow and her child who could use some sympathy and financial help. What Kilmer did not know was that her husband, Tanaka Ken (Ken Takakura)who was believed dead, returns and learns Kilmer did what he as the husband was suppose to do and feels obligated to remain silent. Years pass and now an old friend of Kilmer, George Tanner (Brian Keith) sends for him seeking help against a Yakuza gang who has kidnapped his daughter. Kilmer decides to ask Goro (James Shigeta) for his brother Ken's help and since Ken cannot refuse, is obligated to help. Richard Jordan is Dusty who although works for the rival, switches side and helps Kilmer. What Kilmer is unaware of is that his friend does not tell him the truth and thus endangers both men. The film is filled with subtle power and like the people of Japan worthy of deep respect as one learns the true meaning of friendship and Giri; obligation. An excellent piece of film culture which obligates a reviewer to grant the movie the status of Classic. ****