I like the storyline of this show,it attract me so much

Thanks for the memories!

A brilliant film that helped define a genre

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Going straight proves challenging for an ageing yakuza boss and his loyal enforcer as they learn that others still hold grudges against them in this crime drama from Japan. With lots of vivid colours and imaginative interiors akin to a big budget Hollywood musical, 'Tokyo Drifter' is an incredibly stylish film and the memorable bits and pieces are hard to shake, like one scene where lead actor Tetsuya Watari plays chicken on a set of train tracks with a man trying to kill him. The virtues are, however, few and far between. The movie is extremely heavy on dialogue and very light on action (except near the end) and with it sometimes unclear who exactly certainly characters are and what exactly they hold against Watari, it is little surprise to learn that many have found the film incomprehensible over time - including the studio who made the film, which fired the director soon afterwards. Watari is additionally saddled with singing aloud a repetitive theme song about being a drifter; not only does the tune get on the nerves, there is an unintentional hilarity to a hardened gangster who sings as he goes from job to job. The film is not quite as worthless as it may sound though; the basic story of a former yakuza cut off from his boss and clan brings to mind 'Yojimbo', though stylistically, the film is perhaps best thought of as Godard/'Breathless' attempt to quash genre conventions. It is interesting for sure for as curiosity piece, but those looking for an action thriller or a drama about lost identity and loneliness would do better to look elsewhere.

If you want brilliant classic cinema, by all means go elsewhere. But if you've been looking for the Japanese equivalent to a blacksploitation flick, you've got it here. Cheesy acting, antiquated and predictable storytelling, AND catchy theme song all rolled into one. (Have to give credit where credit is due, that theme song is great). Generally I'm a fan of film cross-pollination. After all, where would Akira Kurasawa be without the old classic Westerns, and likewise, where would George Lucas be without Akira Kurasawa? But Tokyo Drifter just overdid it. It also had that 'Speed Racer' feeling to it, like you where watching the same thing over and over again. Still, much like Shaft, it's not art, but it's still quite enjoyable.

It must have been a delirious joy for Seijun Suzuki to direct Tokyo Drifter (when the meddlesome but fair studio heads got in a tiff with him over the final cut); it's a director's movie, and he shoots it and edits it like a jazz-man in a tiny club going one step further than John Coltrane. He's in love with image, LOVES filling it with color and derangement and bursts of violence when required during the theme song crooning along. This is what makes it so satisfying and troublesome; like avant-garde jazz it doesn't have much structure, it's rhythm is erratic and it will throw off some. He even makes Takashi Miike seem fairly normal in comparison. But to see those little riffs, those scenes where Suzuki rolls out all of his cinematic tricks, it's so worthwhile.For one thing Tokyo Drifter walks along a line that is so gratifying since it works as a straight yakuza thriller about gangster Tetsuo trying to go legit with his boss only to be drawn back in by a sour deal on a building worth millions, and as a oddly subtle AND over the top parody with plenty of rock music, colors that pop off the screen, and plenty of attitude and violence. Suzuki also doesn't play by any rules which is exhilarating... it also tends to be a little frustrating if looking for a very coherent story, or some supporting characters to care about. But it works because the focus isn't on the script but the direction; it's probably as strong a job as with Branded to Kill, only in lush colors (sometimes matching with white or yellow or blues, like a coloring book with a splash of acid) and with a catchy theme song (one scene, where Tetsuo is singing the song to himself while walking along, leading up to an ambush by a bunch of other yakuza, is incredibly funny).Watch it to have a fun time, for a good dosage of experimentation, and to get a couple of really bad-ass scenes, maybe some of the freshest and most entertaining in any crime movie. I was quite happy I took the 83 minute trip with the drifter and his saga, even if it is less than great is arguable, and I'd argue it isn't.

After seeing some Kobayashi films that blew me away - specifically Kaidan and Seppuku, I was in the mood for some more Japanese cinema. I'm not any more. Tokyo Drifter and Seijun Suzuki have something of a cult reputation. I failed to see the appeal. The direction was static and Suzuki simply doesn't know how to tell a coherent story.Some people liked the colors. I personally found it to be as garish as anything from 60's-early 70's Indian cinema. There was no sense of style, little action and no characterization. I can't recall one set piece or moment of even moderate interest. The only unique thing was seeing the title character singing the title song several times during the course of the film. I believe it was a lame attempt at pathos.In short, no style, no substance, no plot or characterizations and no action. Waste of time and vastly overrated. I won't be 'exploring' Suzuki's other works.