Turnaround is fair play. Hollywood ate up Japanese stories and turned them into Studio Pictures (see Magnificent Seven, et. al.). So, it was only fair that the Japanese would take their part in doing some of the same. Enter Abashiri Prison the stark black and white Prison/Yakuza film from the king of Japanese Genre director Teruo Ishii. The director deviated from his source material (from novel of the same name by Hajime Itō) and made a riff on Stanley Kramer’s The Defiant Ones. The result is a thrilling piece of hardened crime fiction.
Tachibana (Ken Takakura), a short-timer low-end hood trying not to get into trouble for the last six months of his sentence. Gonda (Koji Nanbara), is a lifer with an ego bigger than his crimes with designs on escaping the snowy hellscape of a prison. It’s fated these two are cuffed together for work detail the day that Tachibana finds out that his mother is about to die and Gonda has a plan for escape. Forced into each other’s confidence as Gonda makes his move the two must contend with each other as much as the forces that are closing in.
Director Teruo has made a film that is nowhere near as preachy as Kramer’s film. Abashiri Prison manages to discuss similar themes (though race is not a factor here) of crime, punishment, and the lack of empathy in systems of justice. Though the film never forgets that it’s a genre film and a quite thrilling one at that. The reason it works so well is that we’re invested in Tachibana and Gonda and if they survive their escape attempt.
There are few films as crafty as Abashiri Prison at its finale, one that you will not see coming.
Abashiri Prison II (Another Abashiri Prison Story)
The genius of director Teruo Ishii’s burgeoning film series is its push against having it set in prison. Though it claims to be “another prison story” it is anything but. Director Teruo has constructed a Yakuza tale of honor code versus the unscrupulousness of the power-hungry.
Tachibana (Takakura) recently released from Prison finds a cache of diamonds. Diamonds that it appears every Yakuza clan is in the know about. Tachibana trying to keep them for himself pulls in everyone from his time at Abashiri even the lifers who seem to have escaped.
There’s a lean economy to the film that one can appreciate from a film that was written and produced less than four months after the original in the series was released. It isn’t a bad film in any way. Though the subtle thematics of the first are all but gone. In their place is a certain amount of cynical storytelling and style that only the very best Yakuza films have.
The film feels like more of a vehicle designed for star Ken Takakura. Everything Takakura does oozes cool and badassery. Even when his rivals get the better of him, Tachibana remains ever the clam-collected operator. It’s part of the fun of the entire film to see how Tachibana is able to surmount the impossible odds and traps the other Clans (and Cops) have laid out.
Though not to be outdone the supporting cast is given space by director Teruo to play. Kanjūrō Arashi is a standout as the aging Yakuza boss who still inflicts fear in his rivals because of his cold violent ways. Add in Koji Nanbara reprising his role of hot-headed Gonda and you’ve got a great follow-up to the original. One considering the turnaround is a wonderful kick to start the franchise proper (as these are more Yakuza films than “prison films”).
Abashiri Prison III (Abashiri Prison: Love for the Homeland)
Well… you knew that one of the 17 (yes, 17) of the series would go off the rails. It’s the third entry that does. We can explain away the context in which the production decided to use blackface but there isn’t. I can say that it isn’t used for some sort of racist jokes. Director Teruo has honest-to-goodness intent in telling a story that is not often discussed in Japanese films or in Japanese society in general. That is the birth of biracial babies in the wake of the US Occupation (yes, it was a military occupation) and both the US and Japanese response to those babies. Many of which were borne out of sex work.
It should be noted that Eureka has given a warning on its disc before the film begins giving you the option to move forward or skip this altogether.
The third film in the series has Tachibana (Takakura) and his criminal associates trying to make an honest go of things on the other side of the law. As we know in these types of stories or even in the world itself, the other clans will never let this happen. Part of the tension of the film is how the now legitimate Tachibana and his crew will respond to the counters and traps laid by the rival Clans. Director Teruo as in the first two films, defies expectations each time, giving us adroit solutions that keep Tachibana on the straight and narrow. Though, we all know, including Tachibana it is only a matter of time until the entire island explodes in violence which it spectacularly does.
The third film does feel like the end of a triptych. Fittingly, having Tachibana knowing the straight life is nothing but a dream. A good dream but a dream, nonetheless. As he watches the angered biracial child leave the island for a better existence – all the while cursing his name – we and Tachibana know it is for the best. Tachibana and anything he touches is meant for the Yakuza life. Any deviation from that path leads to ruin. It is the prison he willfully now occupies, the Abashiri Prison of his soul. One that he will never be released from.
The Transfer(s)
The HD presentation of all three films from restorations of the original film elements supplied by Toei are inspired transfers. The first with its black and white widescreen photography is perfectly transferred to Blu-ray. There isn’t a scratch or issue with the image. Those with an affection for the specificity of Japanese widescreen will love this particular entry as the focal range is a thing of cinematic beauty in the film. The other two are widescreen as well but both are shot in that particular brand of Toei color. Those who are familiar with Toei’s mid-to-late 1960s saturated Fuji-color-esque image will fall in love with these two transfers. Again, the restorations here have nary a scratch, blemish, or issue. Eureka has come out the gate with some wonderful transfers. They’ve definitely come to play with the other Boutique Labels.
The Extras
They include the following;
Brand new audio commentary tracks by Tom Mes, Chris Poggiali and Mike Leeder & Arne Venema
Interview with Tony Rayns
Break Out: Jasper Sharp & Mark Schilling Discuss Abashiri Prison
Trailers
NOTE: Special features are spread across two discs. Disc one has both Parts 1 & 2 and Disc two has Part 3.
The first all-new audio commentary track on Abashiri Prison by film scholar and historian Tom Mes begins with the opening of the film as a double bill with Konto: The Wanderer. Some of the details include the work of Ken Takakura – which this film made him a star; the work of Kōji Nanbara; the box office success of the film and the others in the series that were released in 1965 (a total of four films that year); the box office success of parts 5, 6, and 7 in 1966; the film being a remake of sorts of The Defiant Ones – and its similarities and differences; the work of actor Tōru Abe – both here and within his career at Toei in Yakuza films of the 60s and 70s, and Nikatsu earlier in his career in action films; a larger discussion about post-war years of the studio systems in Japan; another great discussion about the actor Kanjūrō Arashi the Japanese box office blockbuster Emperor Meiji and the Great Russo-Japanese War – which was little heard outside of Japan; the title’s literal translation and why it differs from the English translation; a great discussion about the history of area/state the film takes place in Hokkaido; the actual prison that the film is based on; the different films and novels that were set in Abashiri Prison; the wild true account of the single successful escape attempt from Abashiri Prison; the development of the film and how it eventually came into director Teruo Ishii; the reasons they decided to shoot in black and white for this film; the negotiation to get Takakura in the film; and much more.
The second all-new audio commentary track by author/critic Chris Poggiali begins with the alternate titles of the film. Some of the details include the differences in the sequel being shot in color and not being set in prison; the surprise box office success of the original and how the sequel evolved from that success; the first film’s title song which was a smash success on Japanese Billboards; the speed at which the film was produced and released – three months after the original’s release; the development of the sequel – and the changes that were made; the film series history and why they ended the series at 9 and moved away from star Ken Takakura; the work and personal history of Michiko Saga; the formula that was used in all of the Abashiri Prison films; a great side discussion of various Yakuza films of the era that starred Takakura and other luminaires like Sonny Chiba; a larger discussion of the various actors who continue to appear in the series, playing the same character, but sometimes are completely different character traits; and much more.
The third and final all-new audio commentary track is by Mike Leeder & Arne Venema and opens with the duo introducing themselves and discussing the various titles the third entry in the series goes by. Some of the other details include a discussion of the various The Defiant Ones remakes that include the first Abashiri Prison film and how the rest of the films divert from that formula; a discussion of the blackface actor – including how it was a very regular occurrence in Japanese cinema; the cultural relevance of Dutch and Japanese connections; the work of actor of Ken Takakura – including how he got into films and the staggering 180 films for Toei; the English language output of Takakura including Black Rain and Mr. Baseball; an interesting side conversation of the Japanese courts and laws and how they were changed by a specific film; a discussion of director Teruo Ishii’s career, films, and life; a larger discussion of the various actors and their output outside of this film; and much more.
Break Out: Jasper Sharp & Mark Schilling Discuss Abashiri Prison (29:26) – this all-new interview between the duo begins with introductions and a discussion of the wealth of films that have been released by director Teruo Ishii but how the Abashiri Prison film series has not been released outside Japan. Some of the details discussed into the quickness of the release of the sequels (4 within a year) and their quality; the lack of coherence or continuity within the series especially in the first four films; the work of legendary Japanese actor Kanjūrō Arashi; how each found the work of director Ishii; a larger discussion of the style of Ishii’s films and how the Abashiri Prisons films differ; the way Ishii used The Defiant Ones as a jumping off point but not a remake – and also the Japanese novel; the various titles that the film has gone under outside of Japan; and much more. The duo have a great discussion of the first in the series, Takakura, director Ishii, and much more.
Interview with Tony Rayns (30:41) – is an all-new interview with critic and Asian cinema expert who discusses the difference between Western Filmmaking Series and Eastern Filmmaking Series – and the speed at which they are able to produce films, star Ken Takakura’s rise to fame, the work of director Teuro Ishii and much more.
The Original Theatrical Trailer for Abashiri Prison (2:45); Abashiri Prison II (2:50); Abashiri Prison III (2:21). Note: all are in Japanese with English Subtitles.
The Final Thought
Prison Walls: Abashiri Prison I-III box set is a big swing for Eureka. They’ve hit this one out of the park. Highest Possible Recommendations!
The geniuses at Eureka Entertainment have brought Director Teruo Ishii’s Yakuza Film series starring Ken Takakura to Blu-ray with the Prison Walls: Abashiri Prison I-III box set.
The Film(s)
Abashiri Prison
Turnaround is fair play. Hollywood ate up Japanese stories and turned them into Studio Pictures (see Magnificent Seven, et. al.). So, it was only fair that the Japanese would take their part in doing some of the same. Enter Abashiri Prison the stark black and white Prison/Yakuza film from the king of Japanese Genre director Teruo Ishii. The director deviated from his source material (from novel of the same name by Hajime Itō) and made a riff on Stanley Kramer’s The Defiant Ones. The result is a thrilling piece of hardened crime fiction.
Tachibana (Ken Takakura), a short-timer low-end hood trying not to get into trouble for the last six months of his sentence. Gonda (Koji Nanbara), is a lifer with an ego bigger than his crimes with designs on escaping the snowy hellscape of a prison. It’s fated these two are cuffed together for work detail the day that Tachibana finds out that his mother is about to die and Gonda has a plan for escape. Forced into each other’s confidence as Gonda makes his move the two must contend with each other as much as the forces that are closing in.
Director Teruo has made a film that is nowhere near as preachy as Kramer’s film. Abashiri Prison manages to discuss similar themes (though race is not a factor here) of crime, punishment, and the lack of empathy in systems of justice. Though the film never forgets that it’s a genre film and a quite thrilling one at that. The reason it works so well is that we’re invested in Tachibana and Gonda and if they survive their escape attempt.
There are few films as crafty as Abashiri Prison at its finale, one that you will not see coming.
Abashiri Prison II (Another Abashiri Prison Story)
The genius of director Teruo Ishii’s burgeoning film series is its push against having it set in prison. Though it claims to be “another prison story” it is anything but. Director Teruo has constructed a Yakuza tale of honor code versus the unscrupulousness of the power-hungry.
Tachibana (Takakura) recently released from Prison finds a cache of diamonds. Diamonds that it appears every Yakuza clan is in the know about. Tachibana trying to keep them for himself pulls in everyone from his time at Abashiri even the lifers who seem to have escaped.
There’s a lean economy to the film that one can appreciate from a film that was written and produced less than four months after the original in the series was released. It isn’t a bad film in any way. Though the subtle thematics of the first are all but gone. In their place is a certain amount of cynical storytelling and style that only the very best Yakuza films have.
The film feels like more of a vehicle designed for star Ken Takakura. Everything Takakura does oozes cool and badassery. Even when his rivals get the better of him, Tachibana remains ever the clam-collected operator. It’s part of the fun of the entire film to see how Tachibana is able to surmount the impossible odds and traps the other Clans (and Cops) have laid out.
Though not to be outdone the supporting cast is given space by director Teruo to play. Kanjūrō Arashi is a standout as the aging Yakuza boss who still inflicts fear in his rivals because of his cold violent ways. Add in Koji Nanbara reprising his role of hot-headed Gonda and you’ve got a great follow-up to the original. One considering the turnaround is a wonderful kick to start the franchise proper (as these are more Yakuza films than “prison films”).
Abashiri Prison III (Abashiri Prison: Love for the Homeland)
Well… you knew that one of the 17 (yes, 17) of the series would go off the rails. It’s the third entry that does. We can explain away the context in which the production decided to use blackface but there isn’t. I can say that it isn’t used for some sort of racist jokes. Director Teruo has honest-to-goodness intent in telling a story that is not often discussed in Japanese films or in Japanese society in general. That is the birth of biracial babies in the wake of the US Occupation (yes, it was a military occupation) and both the US and Japanese response to those babies. Many of which were borne out of sex work.
It should be noted that Eureka has given a warning on its disc before the film begins giving you the option to move forward or skip this altogether.
The third film in the series has Tachibana (Takakura) and his criminal associates trying to make an honest go of things on the other side of the law. As we know in these types of stories or even in the world itself, the other clans will never let this happen. Part of the tension of the film is how the now legitimate Tachibana and his crew will respond to the counters and traps laid by the rival Clans. Director Teruo as in the first two films, defies expectations each time, giving us adroit solutions that keep Tachibana on the straight and narrow. Though, we all know, including Tachibana it is only a matter of time until the entire island explodes in violence which it spectacularly does.
The third film does feel like the end of a triptych. Fittingly, having Tachibana knowing the straight life is nothing but a dream. A good dream but a dream, nonetheless. As he watches the angered biracial child leave the island for a better existence – all the while cursing his name – we and Tachibana know it is for the best. Tachibana and anything he touches is meant for the Yakuza life. Any deviation from that path leads to ruin. It is the prison he willfully now occupies, the Abashiri Prison of his soul. One that he will never be released from.
The Transfer(s)
The HD presentation of all three films from restorations of the original film elements supplied by Toei are inspired transfers. The first with its black and white widescreen photography is perfectly transferred to Blu-ray. There isn’t a scratch or issue with the image. Those with an affection for the specificity of Japanese widescreen will love this particular entry as the focal range is a thing of cinematic beauty in the film. The other two are widescreen as well but both are shot in that particular brand of Toei color. Those who are familiar with Toei’s mid-to-late 1960s saturated Fuji-color-esque image will fall in love with these two transfers. Again, the restorations here have nary a scratch, blemish, or issue. Eureka has come out the gate with some wonderful transfers. They’ve definitely come to play with the other Boutique Labels.
The Extras
They include the following;
NOTE: Special features are spread across two discs. Disc one has both Parts 1 & 2 and Disc two has Part 3.
The first all-new audio commentary track on Abashiri Prison by film scholar and historian Tom Mes begins with the opening of the film as a double bill with Konto: The Wanderer. Some of the details include the work of Ken Takakura – which this film made him a star; the work of Kōji Nanbara; the box office success of the film and the others in the series that were released in 1965 (a total of four films that year); the box office success of parts 5, 6, and 7 in 1966; the film being a remake of sorts of The Defiant Ones – and its similarities and differences; the work of actor Tōru Abe – both here and within his career at Toei in Yakuza films of the 60s and 70s, and Nikatsu earlier in his career in action films; a larger discussion about post-war years of the studio systems in Japan; another great discussion about the actor Kanjūrō Arashi the Japanese box office blockbuster Emperor Meiji and the Great Russo-Japanese War – which was little heard outside of Japan; the title’s literal translation and why it differs from the English translation; a great discussion about the history of area/state the film takes place in Hokkaido; the actual prison that the film is based on; the different films and novels that were set in Abashiri Prison; the wild true account of the single successful escape attempt from Abashiri Prison; the development of the film and how it eventually came into director Teruo Ishii; the reasons they decided to shoot in black and white for this film; the negotiation to get Takakura in the film; and much more.
The second all-new audio commentary track by author/critic Chris Poggiali begins with the alternate titles of the film. Some of the details include the differences in the sequel being shot in color and not being set in prison; the surprise box office success of the original and how the sequel evolved from that success; the first film’s title song which was a smash success on Japanese Billboards; the speed at which the film was produced and released – three months after the original’s release; the development of the sequel – and the changes that were made; the film series history and why they ended the series at 9 and moved away from star Ken Takakura; the work and personal history of Michiko Saga; the formula that was used in all of the Abashiri Prison films; a great side discussion of various Yakuza films of the era that starred Takakura and other luminaires like Sonny Chiba; a larger discussion of the various actors who continue to appear in the series, playing the same character, but sometimes are completely different character traits; and much more.
The third and final all-new audio commentary track is by Mike Leeder & Arne Venema and opens with the duo introducing themselves and discussing the various titles the third entry in the series goes by. Some of the other details include a discussion of the various The Defiant Ones remakes that include the first Abashiri Prison film and how the rest of the films divert from that formula; a discussion of the blackface actor – including how it was a very regular occurrence in Japanese cinema; the cultural relevance of Dutch and Japanese connections; the work of actor of Ken Takakura – including how he got into films and the staggering 180 films for Toei; the English language output of Takakura including Black Rain and Mr. Baseball; an interesting side conversation of the Japanese courts and laws and how they were changed by a specific film; a discussion of director Teruo Ishii’s career, films, and life; a larger discussion of the various actors and their output outside of this film; and much more.
Break Out: Jasper Sharp & Mark Schilling Discuss Abashiri Prison (29:26) – this all-new interview between the duo begins with introductions and a discussion of the wealth of films that have been released by director Teruo Ishii but how the Abashiri Prison film series has not been released outside Japan. Some of the details discussed into the quickness of the release of the sequels (4 within a year) and their quality; the lack of coherence or continuity within the series especially in the first four films; the work of legendary Japanese actor Kanjūrō Arashi; how each found the work of director Ishii; a larger discussion of the style of Ishii’s films and how the Abashiri Prisons films differ; the way Ishii used The Defiant Ones as a jumping off point but not a remake – and also the Japanese novel; the various titles that the film has gone under outside of Japan; and much more. The duo have a great discussion of the first in the series, Takakura, director Ishii, and much more.
Interview with Tony Rayns (30:41) – is an all-new interview with critic and Asian cinema expert who discusses the difference between Western Filmmaking Series and Eastern Filmmaking Series – and the speed at which they are able to produce films, star Ken Takakura’s rise to fame, the work of director Teuro Ishii and much more.
The Original Theatrical Trailer for Abashiri Prison (2:45); Abashiri Prison II (2:50); Abashiri Prison III (2:21). Note: all are in Japanese with English Subtitles.
The Final Thought
Prison Walls: Abashiri Prison I-III box set is a big swing for Eureka. They’ve hit this one out of the park. Highest Possible Recommendations!
Eureka Entertainment’s Blu-Ray edition of Prison Walls: Abashiri Prison I-III is out June 18th!
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