A ★★★★ review of Glorious Fights (1966) (2025)

Takita (Ken Takakura), is the second in command of the Yamazaki Family, who under the leadership of Boss Yamazaki (Seizaburo Kawazu), are locked in an escalating war with rivals, The Gondo (Kei Sato). With tit for tat killings dominating the news and violence spilling into the streets, the Yamazaki's lawyer, Gunji (Rentaro Mikuni), tries various methods to mediate between families and put an end to the conflict. But old rivalries and stubborn leaders aren't willing to let go, putting Takita in an awkward position as he tries to juggle his morality, Yakuza duties and his newly found love, Yuki (Yukio Toake), whilst suffering from radiation poisoning.

'Glorious Fights' (such an odd title), is anything but a 'typical Yakuza movie', while of course it deals with the familiar themes of a man weighing his own morality against the Jingi code etc, it's still a Yasuo Furuhata film first and foremost, with all the stylistic tendencies and theatrics present that come with such a unique filmmaker. A sombre and melancholy character study of a man deeply scarred by the war and serving as both a proto-Jitsuroku in its modern setting, with pitched gun battles and bloody violence (as well as allegedly being loosely based on a real life Nagasaki Yakuza) as well as containing elements that Furuhata would go on to perfect in the likes of 'Winters Flower' and 'Yasha'.

The film starts with a war already underway, as the Yamazaki and Gondo Families clash at a race track as an assassination attempt ends with a young member stabbed in the stands, quickly moving on to a revenge killing via a sniper on a rooftop. It's a striking way to open the film and a clever way of establishing the already raging conflict. Furuhata quickly establishes his critique of the inherent hypocrisy of the Yakuza code with a sequence that sees the sniper rifle change hands, on its way to being safely hidden, because, as Boss Yamazaki firmly, and in no uncertain terms, tells his second in command, "I can easily replace a man, but not a rifle".

This theme of Yakuza manipulating and using their men, twisting the Jingi code to their own benefit is persistent throughout, with the various characters that know Takita constantly making him aware of the fact, whether it be slippery lawyer Gunji, or Kitajima, a reporter friendly with Takita (who ironically uses the conflict to his own ends), constantly warning him of his eventual fate. While it's heavy handed at points, it's also key to the inner struggle that Takita faces in his blind loyalty to his Boss, a man who saved him from the hellish aftermath of the Nagasaki bombings and raised him as his own son. It's this aspect of the story, elevated by a strong Ken Takakura performance that really makes the film stand out, feeling ahead of its time, especially when coupled with some heavy hitting and bloody violence.

Furuhata's direction is also typically excellent, with some truly beautiful cinematography using the Islands absolutely stunning landmarks and scenery to set a perfect backdrop that contrasts his sombre tale. His framing is magnificent and not only does he pay special attention to his forever muse, Ken Takakura, with long, slow takes that settle on Ken first and foremost, but his special attention to the scenery makes it a real visual feast and his night time scenes, particularly one of Ken alongside Yukio Toake feel almost ethereal in the way he frames and lights his principal cast.

I also really appreciated the way he shot the action here, it feels strikingly ugly and quite bloody for its time, with an almost Yamashita-esque authenticity to it. Whether it be a raging gun battle as besieged Yamazaki members defend their office from the heavily armed Gondo, or a vicious stabbing at a quiet hot spring, it's quite ahead of its time in a way and it contrasts the quiet beauty seen elsewhere brilliantly. That's not to say there's a lot of action either, because as mentioned, this is a Furuhata film after all, so it's measured pacing and almost glacial long takes certainly won't be for everyone (a common, and understandable, complaint against the filmmaker nowadays).

It's pacing is actually my biggest complaint. While it wraps up concisely in a lean 89 minutes, which is something of a rarity for Furuhata who was never a stranger to elongated runtimes, it feels like an extra 15-20 minutes of really defining it's leads and expanding on the central love story, which is admittedly a little hit or miss, could of raised the film to true greatness, making it's fantastic ending really have an emotional impact rather than just a slight fizzle. While the Takakura/Toake relationship works to an extent, it's never fully realised despite being the catalyst that ignites Takita's inner struggles. Which is a real shame as the potential was definitely there.

The cast is excellent across the board, with Ken Takakura, who always excelled under Furuhata's direction really getting to show what he was made of, especially at a time when his stoic,chivalrous act was his main attraction. Not only is there that side to him, but he also rather brilliantly portrays the struggles of a terminally ill man, scarred not only by the effects of war internally, but physically too, as bouts of radiation sickness and crippling headaches, replete with flashbacks take their toll. It's a fantastic performance with some subtle, and not subtle nuances that really make the role stand out. Yukio Toake is also very good, though as mentioned above its a shame her character, and by extension her relationship, wasn't better defined because that easily could of raised the film to another level entirely.

Elsewhere, Kei Sato and Seizaburo Kawazu star as the rival bosses and both deliver terrific roles, most notably because of how well written they were, eschewing a few of the typical stereotypes associated with the 'villainous boss' and portraying men flawed by the code they must adhere too, and how they perceive it, rather than necessarily their acts. Rentaro Mikuni is also a standout as the slippery lawyer sliding between the rival factions in a fascinating role that parallels the law being just as murky and manipulative as the Yakuza themselves, as he very subtly, and carefully, manoeuvres players into his realm, it's a really great performance and easily one of my personal favourites from him. There's also superb support in smaller roles from the likes of Renji Ishibashi, Kenji Imai (one of the films best) and Nobuo Yana who all shine even with limited screentime, it's an impressive and *slightly* different ensemble that really works to the benefit of the whole.

As much as I really enjoyed the film, with its rich characters, fascinating narrative and terrific proto-Jitsuroku elements, it's also easy to see it's flaws that hold it back from greatness, and as such it's a difficult one to wholeheartedly recommend to just anyone. Those familiar with the genre, or Director Furuhata will probably find plenty to like, but those looking for something pacier will probably end up disappointed. But for nothing else, it's an interesting film, particularly when it's year is taken into account with the themes and genre elements that it posits and it's definitely a film that I think will be more rewarding on subsequent visits.