Tag Archives: The Yakuza

Frantic (1988)

Frantic (1988)Frantic is such the quintessential Roman Polanski movie that you’ll swear you’ve seen it before. As with Repulsion, Cul-De-Sac, Rosemary’s Baby, The Tenant and What? before it, Frantic subsists entirely on a sense of dread that grows steadily following an initial oddity. The tagline is “Danger. Desire. Desperation”, which could easily be the tagline for a sizable cross-section of Polanski’s filmography. That said, only one of those three words — “Desperation” — actually feels accurate within the context of the movie, and even the title Frantic is a bit misleading. This isn’t the only kind of film Polanski is capable of, but the series that do fit the mold are less frantic and more foreboding, less manic and more pulsating, less overtly dangerous and more subtly sinister.

And a lot of them concern an American Abroad, a topic which for some reason seems to lend itself particularly well to the horror genre. Films like Jeopardy, The Bird with the Crystal Plumage, The Girl Who Knew Too Much and Hysteria derive a palpable sense of dread from the American Abroad in much the same way; the films based on Patricia Highsmith’s Ripley books and tense thrillers like Straw Dogs and Sorcerer benefit from the same fish-out-of-water vibe, too, while others like The Yakuza use the trope even more explicitly. Of course the whole American Abroad thing is also a hallmark of shitty potboilers like Deception or the slightly-better Lizzie McGuire Movie. Did you know there’s a movie called Shaft in Africa? There’s a movie called Shaft in Africa.

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The Yakuza (1974)

Sydney Pollack’s The Yakuza was released at a time when depictions of Asia in Hollywood films were either simple vehicles for big stars or grossly Westernized misrepresentations. There are notable exceptions, of course, and The Yakuza is probably one of them. Starring Robert Mitchum as a retired detective returning to Japan for a new case, the film manages to give real playing time to actors who aren’t straight from Hollywood. Chief among these is Ken Takakura, who shines as the conflicted brother of a former love interest of Mitchum’s character.

As was the case with several of his films, Sydney Pollack wasn’t the first director to be attached to The Yakuza. Robert Aldrich, best known for The Dirty Dozen and the brilliant Flight of the Phoenix, was initially slated to reteam with Mitchum after their collaboration on The Angry Hills back in 1959. Aldrich, a fine director, would have done fine with The Yakuza, but it just seems more interesting as a part of the early Pollack filmography. Following Jeremiah Johnson and The Way We Were and preceding Three Days of the Condor, the Tokyo- and Kyoto-set noir provides a nice break from the Redford-starrers.

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