Review: For most viewers of Asian cinema, Seijun Suzuki's most familiar works are his seminal, mid-sixties films; 'TOKYO DRIFTER' and 'BRANDED TO KILL'. The latter being the film that resulted in the Nikkatsu Company firing Suzuki, in 1967, claiming that his films made no money and were incomprehensible. Time has vindicated Suzuki, though, and his work has influenced many equally influential film-makers, such as Jean-Luc Godard, Russ Meyers, John Woo and Jim Jarmusch.

'FIGHTING DELINQUENTS' is one of five films, directed by Suzuki for NIkkatsu, in 1967, during his most prolific period behind the camera. The film is a pretty standard melodrama, focusing on the struggle between the traditional values of Japanese life and the modernisation / Westernisation that was sweeping across society, especially amongst the young, at this time. Lady Ikuyo and the Matsudaira clan represent a society steeped in tradition, custom and the values of the 'old' Japan. Even the location of the clan is significant; Awaji island being one of the mythical birthplaces of Japan and home to Awaji Puppet Theatre, which even features in the film.

Sadao represents the 'new' Japan or, at least, an idealised version of it; he has little respect for the rituals of the clan and its members, but has philanthropic attitude. He is influenced by, and embraces, the Western influences that are flooding Japan and has an eye on the future of Japan, not just the future of the Matsudaira clan. On the other side of the coin, Nanjo, the local yakuza boss, nightclub owner and property developer, epitomises the negative aspects of modernity; he is more concerned with profit, self-gain and is utterly immoral in his ventures.

If you're thinking that this all sounds rather linear and straight-forward, compared to the likes of 'TOKYO DRIFTER' and 'BRANDED TO KILL', then you'd be right. 'FIGHTING DELINQUENTS' is positively sedate, in comparison, and has little of the avant-garde narrative and visual stylings that you might expect from Suzuki. Still, there are a few touches of the flair that would come to characterise Suzuki's later offerings; a colour filter there, some unnatural camera movements there and a couple of visual effects thrown in for good measure. If you're expecting a slick, visually stunning, inventive film, then you'll be disappointed; if you make it past your disappointment, you'll find a fairly watchable film with, for what I assume is a B-Movie, reasonable performances, decent production values and not much more. Not something I'd suggest seeking out as an example of Suzuki's work.

When all is said and done, 'FIGHTING DELINQUENTS' is a run of the mill melodrama, with a little social commentary, and a hint of what Suzuki would show in his later work, sprinkled conservatively here and there. At times it even threatens to degenerate into a campy comedy, particularly during a couple of the nightclub sequences; one featuring a belly dancer being pursued by a lustful photographer, the other, a dulcet toned female singer who declares "I am the Little Transistor Chick". Still, it never sinks far enough to become a camp delight, nor is its drama rich enough to engage you completely.