Claudio Carvalho
When Nick Davis (Viggo Mortensen) leaves prison after one year in solitaire, he is hired to operate forklift in a warehouse in the harbor owned by the Japanese Yakuza patriarch Isshin Tendo (John Fujioka). The place is assaulted by the Italian Mafia leaded by Dino Campanela (Michael Nouri) and Nick rescues and saves the life of Shuji Sawamoto (Ryo Ishibashi), who is the representative of Yakuza interests in America. Shuji hires Nick to work for Yakuza and becomes his godfather in the family after his oath to join Yakuza. However, Nick is a lonely FBI undercover agent assigned to penetrate in the criminal organization. When the FBI discovers that Campanela is organizing a massive attack to destroy the Yakuza, Nick's boss Littman (Robert Foster) calls off the operation to leave the dirty work to the Italian Mafia. But the connection of Nick with Shuji and his goddaughter Yuko (Cristina Lawson) forces him to help his Japanese family.I have just watched maybe for the sixth time the underrated "American Yakuza", one of the best movies of Yakuza movies with a solid dramatic story of code of honor and a beautiful romance. I became a fan of Viggo Mortensen after watching this movie in the 90's: his character is very well developed in one sentence of his liaison Sam, when he explains that David Brandt is a needy man without family that gives a great value to honor and does not admit betrayal. The screenplay is sharp and the production is classy, supported by magnificent direction and performances and an awesome soundtrack. My vote is ten.Title (Brazil): "American Yakuza"
skyhouse5
And not just because of Viggo Mortensen and his growing bandwagon. "American Yakuza," readily recognized as the standard shoot-'em-up, literally "explosive," machismo fare, sub=genre gangland venue, for the legendary flick audience of 12-year-olds, is, on second viewing, sans captions for these unhearing ears, considerably more. Consider the subtexts, of which there are at least two, maybe three. Four? Whatever, the young man who was an "extra" on-set at least during the climactic "shoot," provides a fascinating glimpse into this slice of the growing Mortensen oeuvre, his on-set preparation for the elegiac conclusion of a "B" movie made for the telly. That insight jibes with everything published since about this singular American film actor, his focus, his intensities, his truths, AND his OTHER interests that include poetry and prose and even politics. Made in '93?, this film has style and substance deeper than the surface sheen, which is more than sufficiently glossy. But, even then, may I attempt to up-point several subtleties that, to me at least, deserve notation, to wit: 1: In the never-never-everland of mob and gangster pix even antedating the "godfathers," rarely has there, if ever, been sidebar comedy touches that seem authentic, like the music=tape scenes on the fateful collection rounds. 2: The even subtler stagings of the elegant "family" dinner and the formal induction of the alien soldier. 3: At least one Yankee compendium fails to even list Ryo Ishibashi in the cast whilst naming every American "name." which. to me, is like omitting EITHER Bogard OR Hepburn when "reviewing" "The African Queen" for posterity. 4: And, in that central and crucial and motivating regard lies the film's raison d'etre, which leads to . . 5: The apparent, to me at least, fact that "American Yakuza" is, at heart, more a fable about a father-son. teacher-disciple, man-boy nexus than a meditation on crime OR violence. Bottom line: As with ALL such contemplations, the homo-erotic element is not only key, it is the central fulcrum AND function. And here, I cite the climactic "love" scene of the dying "don" and the grieving "son," PLUS that stunning staircase descent with the body of the "father." I seem to recall, from that single viewing almost 60? years ago, of Olivier's "Hamlet," wherein his Horatio intones the deathless? lines of the Shakespearean iconolgy, "Good night, sweet Prince . . . " Therein, the eulogy "rises," up the flights of circular? steps, whereas, in this case, the mute eulogy DESCENDS the multiple staircase, precious cargo in arms, grief unworded, honor, AND love, struck dumb. The day hyperhormoned men, never mind the boys, begin to understand their true "loyalties" to their own sex the while they proclaim their lust for women, that will be the day when humanity finally comes to grips with both its "sexuality" AND its emotional ambivalences.
pmiano100
I enjoy most of Viggo Mortensen's films and he was good in this, but as a Sicilian-American, I am offended by the Italian stereotypes. I hate the Mafia as much, if not more, than anyone else. However, I am sick to death of them being portrayed as dumb, arrogant, and inferior to black/Hispanic/Asian, or whatever rival mobsters oppose (and usually beat) them in the movies. A gangster is a gangster, and they are all vicious thugs, no matter what their nationality or race or how old their organization and "traditions" may be. This film made yakuza look like samurai. That is an insult to the samurai class, the Japanese equivalent of European knights and nobility.The ending is supposed to be tragic, but frankly I consider it a happy ending. Hateful, racist swine that he is, I was glad to see that at least Campanela didn't die a coward. I was also glad he took his enemy with him. Good riddance to both bags of bad rubbish.By the way, didn't the FBI have any special agents of Japanese ancestry back in 1993? Yakuza are known to be extremely xenophobic, and it is highly unlikely they would accept a Caucasian in their ranks.
clarenceho
Nice cinematography, catchy music. The action sequences are better than most cable movies, but not quite Woo, Cameron, or McTiernan.I personally enjoyed the plot. I like the conflicted feelings an undercover cop feels when torn between loyalty to friends and duty. (Or actually the conflict the viewers feel.) And IMHO I think the story is also above average for typical cable actioners.
