Story: Devoted to the Yakuza code, boss Izu’s bodyguard Katsuta (Akira Kobayashi) attempts to live his life by old traditions, but in a modern world, living by the code is not always so simple. Like a toppling stack of dominos, one problem after another begins to up heave Katsuta’s peace of mind. A foolish companion gets himself into hot water when he sells a rival’s love interest into prostitution, leaving Katsuta to right his wrongs. Bundle that responsibility with the resurgence of a long lost love and the constant power struggle with greedy rivals the Yoshida gang, and you have enough aggravation to crack even the most resilient of anti-heroes.

Review: Let this be a fair warning to those who may go into Kanto Wanderer expecting a Fukusaku style sneer fest, chock full of tough guys and gun fights. Instead, we find a film that opts to use the gangster angle and its usual trappings as a backdrop to compelling characters and wildly vibrant visuals. The route of the exploitation film is cast aside for a more moral path in which Suzuki shows us the consequences of living a life of crime and the difficulty it comes with. Leave it to Seijun Suzuki to mish mash so many wonderful layers together and still manage to present the end result in a deliciously aesthetic package. Despite the fact that the narrative is a bit clumsy in its complexity (not exactly a foreign aspect for Suzuki films), the tale of Katsuta and his desire to live, love, and succeed, while still maintaining the integrity of his convictions, manages to possess qualities that will interest fans of art house melodrama and yakuza cinema alike.

Early on in the film, we find an overtone that leads us to believe the Yakuza way is one of a modern knight. A glamorous life of honor and nobility can be seen from afar, enticing the naïve with a lust for excitement. We are shown this from the opening sequence as a pair of young school girls attempt to persuade a fellow class mate, whose father happens to be one of the local bosses, into taking them to a yakuza tattoo parlor. Amidst their pleas, a young man comes strutting by like a swaggering bull. His air of arrogance quickly turns to that of maturity when he questions the girls as to why they were missing school. From here on we know that even though Katsuta is a criminal, he’s a good man with a heart of gold.

Never let it be said that Kanto Wanderer is typical of any genre, much less that of the yakuza genre. Not too often does one find a gangster film whose lead is so incredibly passionate towards what he believes in that he will shun all common sense to maintain a set of ideals. The fact that nearly ever character in this film is over exaggerated to the point of comedy also contributes to the contrast of Katsuta’s actions. Everything in a Suzuki film gets amplified to cartoon like levels and Kanto Wanderer is no exception. From the close-up shots and overly exaggerated smiles of the young school girls, to the smug posture and manner of speaking that Katsuta’s crooked companion Tetsu possesses; all things are larger than life to one degree or another. Even Katsuta is guilty of such things when one views his serious demeanor and ridiculously stern painted eyebrows.

Equally exaggerated are the film’s shot compositions. The wildly contemporary fashions of the time set a hard contrast against the classic qualities of Katsuta’s traditional kimonos. Anyone familiar with Suzuki’s sense of style will quickly recognize his eye for color and the playfulness of his camera. Unusual close-ups frolic across the screen with rich textures and deep shadows, amassing into a photo album of cinematic proportions.

Not exactly linear, but definitely more accessible than some of his other works, Kanto Wanderer maintains a reasonable amount of modesty while still managing to contain that Suzuki groove. All in all, a fascinating glimpse into the life of a man who refused to conform.