A leading postwar Japanese film critic and theorist who co-founded the seminal film magazine Eiga Hihyo (Film Criticism) in 1957, Eizo Yamagiwa made his directorial debut with this independent feature—long thought lost until a negative was recently discovered—about a group of idle bourgeois students known as the “Roppongi Tribe” (Roppongi zoku). Depicting the resignation and nihilism of the postwar generation in the years following the Anpo Treaty conflicts through a coming-of-age narrative, Yamagiwa offers sharp criticism of the prevalent characterizations of Japan's new youth offered by Nikkatsu's taiyozoku (“Sun Tribe”) films and the New Wave at large.
Two young crooks who scam betters in the race track are employed by a yakuza gang called the Shigemori Syndicate to steal a shipment of handguns from a rival gang. Somewhere in the process they find themselves on the run from their own gang and one of them becomes himself romantically entangled with the boss's girlfriend. An ambitious underboss of the gang offers them a way out if they murder the previous boss but things don't turn out as planned (for everyone).
From the king of Japanese exploitation films comes a criminal drama told in a semi-documentary fashion. The murder of the chief official of Kobe city's Customs triggers an investigation of a prostitution ring called the 'Yellow Line' that sells Japanese women. A hired assasin is betrayed by his organization, and kidnaps a woman who happens to be the girlfriend of a newspaper reporter.
Freelance reporter “Scoop” Machida is hot on the trail of a prostitution ring called the Black Line, when he is framed for the murder of a young woman. Forced to clear his own name, the handsome journalist sinks deeper into the Black Line’s rotten swamp of drugs, prostitution, and murder and finds unexpected help in Maya, a steamy female gambler familiar with the neon-lit streets, shadowy alleyways, and seedy nightclubs he must navigate. The closest film in the Line series to classic American film noir, Ishii’s Black Line is a pulpy assortment of crime film conventions including the starkly expressionistic black and white cinematography by Jûgyô Yoshida, a jazzy music score by Michiaki Watanabe, and a sleazy screenplay by Ishii and Ichirô Miyagawa.
Tamio takes Itsuko to an art gallery and the two find one painting is a nude portrait of Itsuko's mother, who disappeared twenty years ago when she was just a baby. No one knows the first thing about the artist who painted it, but he goes by the name Shiro Sofue, and he's always wearing shades in the daytime...
