그 호송차를 노려라 (1960)

신발 제조 회사의 중역인 곤도는 회사의 주도권을 잡기 위해 자신의 전 재산을 회사에 투자한 상태다. 어느 날 그는 자신의 아들이 납치됐으며 범인이 엄청난 몸값을 요구하고 있다는 통보를 받고 회사냐 아들이냐 하는 선택의 기로에 서게 된다. 하지만 정작 납치된 것은 그의 아들이 아니라 그의 운전사의 아들이란 사실이 밝혀지면서 곤도는 또 다른 고민에 빠지게 되는데...

A gang lord hires Kamimura, a hit man, to take out a rival boss who's gotten greedy.

어느 대기업 회장의 딸과 회장 비서의 결혼식장에 케이크가 배달된다. 몇 년 전 기업의 뇌물 수수 스캔들을 잠재우기 위해 강제적으로 투신자살한 간부의 아들이 보낸 것이다. 케이크의 배달을 시작으로 그의 복수가 시작되는데...

와해된 야쿠자 조직의 일원인 테츠는 여전히 두목에게 여전히 충성을 다하고자 하지만, 새로운 인생을 시작해야 하는 갈림길에 서 있다. 그러던 중 라이벌 조직에 대항하는 싸움에 휘말리게 되는데…. 과 함께 60년대 스즈키 세이준 영화를 대표하는 걸작.

살인죄로 수감되었다 3년 만에 출소한 야쿠자 조직원 무라키는 오랜만에 찾은 도박장에서 치명적인 매력을 가진 사에코를 만난다. 그는 점점 더 그녀에게 빠져들지만, 그녀의 곁에는 죽음의 신과도 같은 남자가 그림자처럼 따라다닌다.

A former boxer gets involved with a club hostess trying to escape the clutches of her gangster employer.

Udaka is a new, post-war city where corruption has already taken hold. A persistent district attorney wants to arrest and convict Katsumata, a laughing, self-confident thug. The D.A. gets an anonymous letter about the suicide five years' before of a city council member. Evidence about the case leads the D.A. to Tachibana, struggling to go straight after involvement with the mob and a prison sentence for killing the man responsible for the rape and suicide of his fiancée. One of Tachibana's friends is Keiko, the daughter of the dead councilman and the ward of another powerful official. How do these stories connect?

Businessmen arrange the early release from prison of Togawa, serving time for taking revenge on the truck driver whose carelessness confined Togawa's sister, Rie, to a wheelchair. They want Togawa to hijack an armored truck loaded with 120 million yen; their leverage is to promise him money for surgery for Rie. Togawa consents and plans the heist with three others. The plan is solid, but it doesn't go smoothly. Togawa must improvise, there are traitors somewhere, and double-crosses mount. Can Togawa escape with enough money to help his sister and ensure a passage out of Japan?

약점잡힌 은행간부가 자기 은행을 터는 과정도 재미있지만, 협박범의 배후가 누구인지 드러나는 과정도 흥미진진하고 서로의 인성 밑바닥까지 드러내보이는 후반부의 구성도 좋다. 은행털이가 돈이 목적이 아니라 사적인 복수가 목적인 것, 은행은 털지만 실제로 없어진 돈이 없다는 점도 참 명민한 시나리오.

Betrayed and disgraced, big-city reporter Kazuya Mizuno is banished to a desk at Kaname's boring little town newspaper. But Kaname isn't as boring as it seems on the surface. Not with characters around like Shimeko, a girl genius with a childlike lack of propriety, and her ace fisherman/folk-singer dad. Or the overbearing and unpleasant local Shinto priest, a former Christian cultist. Or Endo, Kazuya's new colleague, a bitter drunk after his son's suicide. Or Kin, a former terrorist, now a hermit on his boat engaging in secret "research." Or perhaps most importantly Teruko, the hypnotically beautiful bar owner, the focus of all manner of innuendo and intrigue. Something mysterious, even mystical, is going on Kaname, and hapless Kazuya is about to be thrown into the middle of it.

In the sixties, director and screenwriter Seijun Suzuki (1923-2017) was the great innovator of Japanese cinema. Extremely creative and eccentric, his narrative world is strongly influenced by Kabuki theater. His testimony crosses with that of his collaborator and close friend, artistic director and screenwriter Takeo Kimura (1918–2010). Between the two of them, they remember how they made their great masterpieces about the Yakuza underworld for the Nikkatsu film company.

A noir action whodunit with Kobayashi his usual jaunty self as the smart aleck private eye whose missing person search soon becomes a murder case. Nightclub-managing, drug-dealing gangster Uchida is the prime suspect in the case until he commits suicide. Kobayashi then discovers evidence that points to the doctor sibling of an innocent girl. The climax in a rural snowy locale is suspenseful and well-staged.

When two brothers steal a valuable heirloom from an elderly Japanese woman, they unknowingly awaken her demigod son, Osaru, who does not take kindly to thieves.