The Age of Assassins (1967) User Reviews

It doesn't amount to much in the end but it's visually inventive and fun to watch

[chaos-rampant · 7 November 2009]

This is a comedy first and foremost in the farcical European sense of the term. Tatsuya Nakadai's character is a naive meek teacher with a skin rash in his feet and a Renault Deuxceveau that farts smoke like Mr. Hulot's car in Jacques Tati's movie and for some inexplicable reason he becomes the target of an organisation called the "Japanese Population Control Agency" which sends wave after wave of quirky assassins his way. This group is led by the halfmad director of an insane asylum who is a fanatic of war and murder, an ex-Nazi who switches between Japanese and German for most of the movie and wears black gloved hands and a grotesque smile. In some ways all this recalls Peter Sellers' character from DR. STRANGELOVE and the movie has some of that crackerjack/gonzo ambiance.

It's all a bit inconsequential plotwise and the movie never develops the grim gravitas of Okamoto's better works because it must sprawl across a dozen different locations, from Tokyo's subways to a holiday resort in Mt. Fuji, and it must pause for Nakadai and his henchman to be shelled by the army before it can move on to its destination. A Spanish knife standoff between Nakadai (who in the process of the movie is turned from naive happy-go-lucky teacher to suave and sly, a Japanese version of Alain Delon which is oddly fitting for the kind of movie Age of Assassins is trying to be) and mad ex-Nazi scientist in a hall made up of brilliant art nouveau decorations and a dazzling whiteness that looks like something out of a Hiroshi Teshigahara movie.

This is even less of a Japanese New Wave film than Okamoto's subsequent THE HUMAN BULLET which marginally touched the outskirts of that niche occupied in the late 60's by the likes of Shohei Imamura and Nagisa Oshima. It does share, however, a similarity in the avantgarde sets, stylish setpieces, and general ironic absurdity, with Seijun Suzuki's idiosynchratic early 60's films leading up to BRANDED TO KILL, yet from the Pink Pantherish animated opening credits to the broad, sometimes goofy, humor, it is also closer to the Eurospy extravanzas of the 60's than the typical Japanese noir made in the early years of the decade in studios like Nikkatsu and Shintoho. In the same time it's a sendup of all that with typical for Okamoto jabs at militarism and war.

Everyone in the movie is looking for a gem called the Tear of Cleopatra but it's a Hitchcockian McGuffin, an opportunity for Okamoto to take us on a tour through a series of elaborate images whether they be footage of Hitler rearprojected through a car window or the severed head of a doll used by a hypnotist as an illuminated pendulum. It doesn't amount to much in the end but it's visually inventive and fun to watch.

Goofy surreal comedy

[ropenico · 9/10 · 10 September 2017]

This film has a definite European feel to it (French comedy with a touch of early Almodovar), only it was made in Japan in mid sixties.

The plot is simple and crazy at the same time. The main character Shinji (Tatsuya Nakadai) is singled out for extermination by a mad, Nazi inspired scientist (Eisei Amamoto)who sets up numerous traps and sends countless assassins in all guises Shinji's way. In the process Shinji undergoes a transformation from a shabby, socially awkward university lecturer to a sly, dashing agent 007 type only to return to his nerdy self at the end of the film. Which made me wonder: was it all a dream? I guess that's part of the film's premise.

Tatsuya Nakadai shows his comic side this time and is priceless as the hapless Shinji turned into James Bond and back. The set of Amamoto's lunatic asylum seems to be a jab at Teshigahara's pretentious aesthetics. The film is well paced, inventive and visually stimulating. If you are willing to leave aside logic and simply take the ride,you are in for a rewarding cinematic experience.

Brilliant Dark Comedy

[Steven_Harrison · 10/10 · 21 January 2007]

The film begins with exposition as a lunatic asylum "mad scientist" ex-Nazi played by Amamoto Eisei (he and his pals switch back and forth between menacing Japanese and scary German the whole film) discusses how a massive diamond was lost and a young Japanese (Nakadai Tatsuya) has it in his possession. A league of assassins make comedic attempts at Nakadai's life (along with a girl, Dan Reiko, Yuriko from Ozu's The End of Summer and a goofy pal) which are all thwarted, naturally, since even playing a little bit of a "dweeb", Nakadai is still graced with luck and a certain charisma (a natural fighting ability). Turns out the diamond is a stolen Nazi item which was placed in Nakadai's body when he was eight.

Okamoto used the same cinematographer for this as Kill!, so it has that same crisp detail, but it's a bit more high contrast (the black and white world of assassinations, I suppose.) The score is almost inappropriately "emotional" at times, but enhances the odd factor. The action is believable, in a "chase film" sort of way, but the real greatness of Epoch of Murder and Madness is in the comedy. Not too broad (though Nakadai's small-enough-to-pedal-with-your-feet car, which emits burps and farts as it runs, runs counter to that claim) and like most of his films anti-authority and anti-war, a fair bit of cynicism and a love for the details of human nature seem to be the ideas behind it. A bit of his earlier The Elegant Mr. Everyman can be seen in the way Nakadai uses his voice as a blunt instrument of humor, streamlining dialogue in a way that almost sounds like narration. The cynical soldier, with aims at the ridiculousness of war, is then best exemplified in his Nikudan, or The Human Bullet (my favorite of his films, and one which Isolde Standish's Myth and Masculinity in Japanese Film does a thorough job of explicating), where Nakadai's Epoch Of... character, Kikyo Shinji seems to be transposed into the Special Attack Forces. Properly enough, Nakadai narrated Human Bullet and the evil as hell Amamoto Eisei plays the main character's father (i.e. the villain). Worth noting that the "main character" of Human Bullet, played by Terada Minori, goes unnamed.

Someone needs to bring this, and the rest of Okamoto's sixties work, to DVD badly.

One part action-thriller - one part farcical spoof - 100% fun, funny, and well-made!

[I_Ailurophile · 9/10 · 21 June 2024]

It's nice to sometimes go into a movie completely unprepared for what it will be, and by Jove, I did not know anything about this before I sat to watch. To wit: the name 'The age of assassins' may suggest a yakuza flick, or a spy thriller, but in actuality it's a farcical romp that continually supplies a steady stream of outrageousness recalling the most abject silliness of Monty Python, The Muppets, or The Three Stooges. It's one thing to remark that the dialogue, scene writing, and characterizations in a script are ridiculous and exaggerated, toying playfully with genre tropes; it's another to begin watching and see an animated credits sequence straight out of Saturday morning cartoons, a major supporting character whose very name is a gag, and a lead actor leaning hard into the characterization of an incredibly nerdy, dopey goof who has secretive hidden depths. Every odd and end is bent toward either reinforcing the compelling underlying narrative, which actually is ripe for earnest storytelling, or gleefully furthering the absurdity layered on top. This does mean some tonal discrepancy at points, but even that is very deliberate, and the result is a tremendous joy well beyond what I ever could have supposed!

So we get dichotomies like finely executed stunts, effects, and action sequences, set against cheeky performances for the primary cast members that are highly animated and all but cartoonish. We're introduced to monstrous, villainous figures, and some genuinely disturbing imagery in reflection of their scheme, that are straight out of Eon Productions' James Bond franchise (both the lighter and darker varieties), but also pointedly curt editing that, in cutting to mundane imagery, slyly bolsters the humor. With sparing exception Sato Masaru's music is commonly light or even jaunty, accentuating the fun-loving core much like a few scantily-clad women and outright frivolity; on the other hand, the story carries a considerable body count. I recognize that Suzuki Seijun's 'Branded to kill' and Elio Petri's 'The tenth victim' are drawn as comparisons, and I quite agree with that assessment; I would further add 1967's 'Casino Royale' to that list, had it been more cohesive and cogently made. It's a peculiar and perhaps risky blend that filmmaker Okamoto Kihachi conjures with writers Ogawa Ei and Yamazaki Tadaaki, and I can understand how it may not appeal to all comers, but for my part, I had an absolute blast!

And still, for as much as the picture swings between moods, or maybe more appropriately between the two halves of the whole, nothing here is accidental or sloppy. Everything looks and sounds fantastic, and is very carefully calculated to meet the precise needs in adapting Tsuzuki Michio's novel - one part wild zest, and one part sincere thriller. From the big sequences, to the cast's performances, to details in the background, Okamoto's direction is wonderfully versatile, not to mention totally solid and reliable, in both maintaining a unified feel and singular vision, and navigating the shifting tone. The filming locations are terrific, and the sets lovely; Nishigaki Rokuro's cinematography is as sharp and mindful as that editing of Kuroiwa Yoshitami. Sato's music really is delightful, and the fundamental image and audio are crisp and vivid. The indicated stunts, effects, and action sequences are as superb and exciting as we would expect from any honest big-budget action flick. From the production design and art direction, to costume design, hair, and makeup, to props and weapons, all elements herein were crafted with marvelous detail. The acting is splendidly adept, dexterously maneuvering between the straightforward and serious vibes and the most jovial ones. Even those in the most unequivocal roles, like Amamoto Hideyo, give vibrant portrayals, let alone more prominent Sunazuka Hideo and Dan Reiko. It goes without saying though that Nakadai Tatsuya, starring as Shinji, has the most demands placed on him as the protagonist adopts a certain persona, and Nakadai's performance is so tight and entertaining that he is easily a magnetic top highlight of these ninety-nine minutes.

Above all, with flavorful scene writing, some rich characters, and a strong, engaging plot with many fabulous turns, the nimble writing achieves an unlikely balance that even some pure, star-studded modern action-comedies can't manage. I think the key here is that there was plentiful potential and existing value in 'The age of assassins' as both a straight action-thriller and an all-out spoof - the material is strong enough that it could have been one or the other. Whether we credit author Tsuzuki, the screenwriting team, or both, the combination was penned with such skill, intelligence, and care that the both aspects mesh together at least as well if not better than they would if it carried the same sensibilities as kindred fare of more recent years (which is to say, trying extra hard to be a seamless action-comedy right out of the gate). From that firm foundation the remainder is given all the greater an opportunity to flourish, and thus the direction, acting, and otherwise craftsmanship demonstrates the smart capabilities of all. I assumed from the outset that I would enjoy this feature, and still I'm so pleased with how fun and funny it is. Whether one has a specific impetus to watch or is just looking for something good, I think this holds up very well, and I'm happy to give 'The age of assassins' my high, enthusiastic recommendation!