Short as it is the film is still too long for its story (slow pace). Bold colors to show personalities of characters (innovative for the time) and render various atmospheres. Like comic strip thus surprised to hear that Sutsuki never used storyboards! The discussion among 3 people near the end is really Kubric.
Another peak-period product of Suzuki's visual design-addled, genre-blending mind, this bildungsroman follows a reformed Yakuza's violence-spangled ascent toward the higher drift, one that abjures apathy and loyalty equally, embracing the provisional nature of bonds formed in conditions of permanent transition without sacrificing passion and care. Still, it amounts to a far better kaleidoscope than character study.
Criterions description of this one deems it “jazzy”, and I can’t find a more defining or appropriate word to call it. The swooning main theme, the flashy visuals, and the cool detachment of the performers gives it a very 60’s B-movie feel, that works to give it unique style. This style does not entirely work on me however, and I felt the film was cool and nicely stylized, but somehow lacking in my engagement with it.
This movie started out with a couple of the most amazing black and white shots I've seen. This made me feel like this could become an amazing movie. The framing was nice and Suzuki used some nice cinematic tricks. For me it never delivered on its initial promise though. Why, why, why not stick with the black and white?