Ram, a graffiti artist in Australia, angrily defaces a mural of his latest ex-girlfriend. Police officer Abhishek Verma arrives on the scene to make inquires. "Love is my problem," Ram replies, and narrates his story. Ram believes, no matter how much two people love each other, the love will eventually fade. He has fallen in and out of love nine times. His tenth love is Jaanu, a bubbly eternal-romantic. He relentlessly pursues her; but when he refuses to declare eternal love for her, their clashing ideologies keep them apart. But how did Ram form his
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User 1 Review:
A flashback in more ways than one - both in theme, and in execution of the film itself - The Yakuza features Mitchum as an American soldier returning to Japan for the first time since WWII. There, he seeks to settle a debt for a friend - all the while rediscovering a woman and child he saved after the war (as well as her brother, sworn to both hate and protect him). A film that explores the Japanese "giri" or obligation - from both Western and Eastern points of view, The Yakuza features good action sequences and classic 70s cinematography as helmed by the capable Pollack. An example of how to shoot violence without gratuity - and how to ably tell a complex story in less than two hours.
User 2 Review:
Could have been so much better. Shrader's script is excellent, but Pollack's directing is pedestrian, bordering on hamfisted. It was like watching an episode of Kojak or Starsky and Hutch.The script itself wasn't like anything else Shrader has ever written, no loners, no social commentary about the decline of civilization, no seedy inner city settings, making it difficult to even identify him as the screenwriter. The directing however, left something to be desired. Pollack is usually a perfectionist but this thing came across as campy. The fight choreography was amateurish at best, hilarious at worst. At least Mitchum was there to lend a little credibility.
User 3 Review:
I thought the one modern Japanese 'good guy' swordsman against many Yakusa gangsters was a particularly well crafted scene, reminiscent of the great Toshiro Mifune. While perhaps a little less than Samurai reality, nonetheless a character study in the Japanese Bushido tradition of stiff stand-off posturing. It was interseting to watch his transformation from a modern Japanese to an ancient warrior, in a matter of seconds. His actions were extremely minimal and efficient - mark your target, judge your attack, and kill at one stroke - unlike his clumsy western companion, Mitcham, who fell about the place while fighting off the rest of the mob in the house, with firearms. Like comparing ballet with a pub punch up. Then we had the 'Kill Bill'... and 'Blade'...'me too' series.
