Reflections
on “The Yakuza”
Directed
by Sydney Pollack
Screenplay
by Paul Schrader and Robert Towne
Starring
Robert Mitchum. Ken Takakura, Keiko Kishi and Brian Keith
I have to say that I
consider “The Yakuza” something of a guilty pleasure. While I enjoy the exploration
of duty, friendship, trust and responsibility, I am more than willing to
recognise the film has numerous flaws. It is undeniable that the film is
repetitive, contains verbose and unnecessarily lengthy exchanges of dialogue, and
suffers from a convoluted, contrived and unclear plot that unfolds at a leisurely
pace in places.
However, I do enjoy the
depth of characterisation in the principal characters, the Japanese environment,
the pervading sense of cultural displacement and mystery, the nagging sense of
heartache leading to remorse, and the exploration of neo-noir or existential
themes such as self-respect, “giri”, and the nature of morality, duty and
loyalty, elements of Bushido, the code of ethics of the Samurai who were the
forebears of the modern Yakuza.
Underpinning everything,
and fundamental to the concept of “giri” (the Japanese cultural notion of duty,
debt or obligation which is a driving force in nearly all the characters in the
film) is existentialism and the idea that our lives, choices and actions impact
the lives of others and we should recognise responsibility for that impact.
Of course, also
fundamental to existentialism is the principle that morality does not exist. No
external moral authority holds us to a sense of responsibility. It is entirely “self-contained”
and, as one character in the film says to our hero Harry Kilmer, “If you don’t
feel it, it doesn’t exist”. It is a matter of personal honour and integrity.
In keeping with the
principles of film noir and existentialism, in our film legality is for others
and is casually set aside. Harry has learned that law and law enforcement go
only so far and then personal judgement must come in to play and personal debts
may take priority over legal restrictions. Here, we are dealing with how men
conduct themselves in life and in business, and the code by which they live.
Friends turn to one another for help and we focus on the themes of loyalty and
trust, but especially a sense of debt or obligation the one might feel toward
the other and the lengths to which one will go to satisfy that debt.
Former military policeman
and sometime jobbing private detective Harry Kilmer is asked by friend George
Tanner to rescue his daughter who has been kidnapped by members of a Japanese crime
syndicate or Yakuza. Harry is indebted to George for saving his life so he
accepts the task. George is aware that a former member of the Yakuza in Japan owes
Harry a similar debt and he expects Harry to play on that debt to help resolve
the situation with his daughter. Harry travels to Japan where he meets an old
flame, Eiko, and her brother Tanaka Ken, the former member of the Yakuza who is
indebted to Harry for rescuing his sister in his absence during WW2, and Harry
enlists his help to discharge his debt to George.
Naturally, being a film
noir, all is not as it seems and complications ensue…
Although separated by
thousands of miles and markedly different cultures and traditions, the rival
camps are effectively motivated by similar catalysts. The fundamental code of
reciprocity, honour, reliability and loyalty underpins relationships on both
sides, formal in the Japanese camp where these qualities are essential to the
conduct of business and relationships, and much more informal in the American
camp where they are underlying, even dormant, but may be called upon at any
time.
At the film’s core,
however, is an exploration of the importance of trust and its place in
relationships and loyalty to friends, and the consequences of betraying it or
withholding essential information that affects it.
Trust is based on
experience and confidence gained in a person, and the result of trust is
believing that person and accepting their word without doubting motive or
circumstance. The effect of discovering trust is misplaced, due to manipulation
or omission, can cause great emotional distress.
Trust plays a major role
in the dynamics of the film – Harry trusts George Tanner, just as Tono, the
Japanese gangster with whom Tanner has dealings, also trusts him. Harry also trusts
Eiko, Tanaka Ken and Dusty, but it transpires trust is misplaced in nearly all
cases and this brings about consequences…
Harry is angry, bitter
and resentful toward George Tanner when he learns George has lied to him and
used him for selfish and manipulative ends, and Harry is devastated when he
learns that Ken and Eiko have omitted to tell him the truth about their
situation out of gratitude and in order to spare his feelings of guilt and
responsibility. In reality, they are man and wife, not brother and sister, and
Ken found the debt he owed his enemy so unbearable that he left his wife and
child, and worked with the Yakuza.
Clearly, this theme of
misplaced trust is linked to “giri” or obligation, the motivating factor for
the main characters. However, George has acted dishonourably and
disrespectfully, so the debt or obligation owed by Harry is undone and Harry
will take his revenge on George.
Feelings of existential responsibility,
debt and guilt are further explored when Harry recognises the life-changing
offence and pain he has caused Ken through involvement in his life, even if
inadvertently. As a man of honour, and following Japanese custom, Harry commits
yubitsume, the ritual cutting off of a little finger in physical
retribution and as a sign of guilt, repentance and respect.
In a way, we share Harry’s
pain as, just like Harry, we were not in full possession of the facts and we
drew our own conclusions, conclusions that are altered dramatically by the film’s
revelations.
“The Yakuza” had a
troubled development and production history with several writers, directors and
stars attached at various times, and suffered from numerous attempts to adapt
and firm up the script. It did not fare well at the box office and there are signs
of a lack of a clear vision for the material, but it remains an engaging if
uneven foray into neo-noir and existential territory. While largely European in
style, with emphasis on character rather than plot, the action scenes are very
well done and are quite thrilling in places.
I believe this was Robert
Mitchum’s last big screen credit as a leading man and I would say that in the
closing scenes he gives a magisterial and utterly convincing performance. I
should add that the haunting music by Dave Grusin beautifully captures the
intrigue, romance and emotional turmoil of the film.
My thanks for taking the
time to read this article. I hope you found it of some value.
Stuart Fernie (stuartfernie@yahoo.co.uk)
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