Although it has its amusing moments, in eneral the plot does not convince.

It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

I don't get what's with those people who think "Battles Without Honor Or Humanity" has something to do with "The Godfather". The only notable similarity is that both delve into the criminal underworlds. But so what ? "The Godfather" didn't invent this genre. Furthermore the story in "Battles" was adapted from newspaper articles describing various yakuza activities. What Kinji Fukasaku created is a brilliant, violent tale about the dark and unforgiving nature of the Japanese crime syndicates it is also a story about friendship and betrayal.This is a tale about a group of young men who after the end of the Second World War find themselves outcasts from society, under pursuit by the authorities. They inevitably bond together and form a new crime syndicate under the leadership of boss Yamamoto. As their organization grows in power so do the internal struggles between them begin to escalate. Slowly, either from pure greed and the corruption of power or by Yamamoto's careful manipulations. It's hard not to draw comparison with "Battle Royale" Fukusako's most notable film released in the late nineties. Both present a similar in a way situation: friends fight friends for their own survival.The only difference being that here that is done in a much more subtle way. But the elements are still the same, characters are likable well fleshed-out and the viewer is thrown into an internal struggle of his own when he sees them killing each other. Fukasaku's type of narration is one that involves multiple points of view, we don't have such a strong focus on main character as most movies do, there is one of course Shozo Hirono (played by the ever great Bunta Sugawara) but he serves the role of executing the movie's catharsis, he is the one who becomes a witness to all the madness and senseless killings and it is his final actions that define that, his realization and his rebellion to it all, his final display of grief to friends lost for nothing.The acting is superb on all fronts, with a diverse cast of characters who offer a different perspective with their own point of view. Fukasaku demonstrates his great skill as a director, his technique perfectly fitting to the movie's tone. By using a fast-paced, erratic, nearly chaotic style the action scenes offer us that taste of brutality we wouldn't have felt had they been directed in a more traditional manner. Fukasaku strays from the established formula of people getting killed fast and easy with one or two bullets instead he shows us an alternative to that : a slow, painful exercise, one that more accurately portrays the yakuza's violent lifestyle. Yet there are no large body counts, the battles are often predetermined with one side attacking an individual or small group from the other, by surprise and in overwhelming force. There really is no honor in the Japanese underworld. "Battles Without Honor Or Humanity" is the epitome of humanity's own self-destructive nature. The one that drives us to aim for a higher financial and social standing on any means. With no regard for friends, family, honor or trust.

This was, BY FAR, one of the best Yakuza movies i have ever seen. From the graphic violence to the internal politics of the Japanese mafia, these movies earn a well deserved place in anyone's mafia library. The series follows the life of Shozo Hirono, an ex WWII Japanese soldier, and his rise and fall within the tumultuous ranks of the Yakuza. The movie chronicles the violent start of the Japanese mafia to about the end of the 70's. I really enjoyed the ENTIRE series, but i felt that it lost its gusto towards the end of the 5th movie, and it ended in a very "japanese" way: with commentary and non violent closure. Hirono retires unscathed, and walks off into the veritable sunset.. Other than the lame ending, the ENTIRE SERIES is straight up and down, one of the most awesome and REALISTIC views into the secret world of the yakuza, that i have ever had the absolute pleasure of viewing.

The art of film welcomes its viewers into worlds unknown filled with interesting characters and settings unfamiliar to the everyday person. Some of these worlds may be completely imagined, full of monsters and witchcraft, while others set in the real world but with people and places with whom we may never meet in our lifetime. Sometimes, after watching these films, we are left with such a profound imprint that we cannot help but empathize with the world which we have just witnessed. All of the above represent the feelings one is able to experience after watching the five episodes known in America as "The Yakuza Papers." The first of the series is story of the beginnings of a post World War II yakuza empire centering around a main character Shozo Hirono, played by Bunta Sugawara, and his devotion to a disjointed backstabbing mobster family. A former soldier without a plan, Shozo easily slips into the yakuza plan as he volunteers to enact revenge on a friend until his fate is sealed when he is forced to chop off his finger for insulting another family member. The film has a lively pace, to say the least, as there are a huge cast which are killed off as soon as they are introduced, and they don't necessarily die boring deaths. This humble critic suggests using a Polaroid camera or a pen and paper while watching this movie as it can get extremely confusing at times. It took this humble critic three views to realize that the character of Toru Ueda was the one who had his arm chopped off in the beginning and throughout the rest of the movie walked around without a left hand in his sleeve.This film and its sequels released between 1973 and 1974 was a gigantic hit in Japan. One can recognize the theme song arise in daily Japan in various places like the occasional comedy skit or variety show. Incidentally, the piece composed by Toshiaki Tsushima and said to be based on Ennio Morricone's titlepiece for the 1969 movie The Sicilian Clan, resurfaced in a remix of sorts by guitar legend Tomoyasu Hotei for the the movie Kill Bill Vol.1. It also became Hideki Matsui's new theme song and played at Yankees Stadium on his turns at bat. Not only is the music memorable but this movie set a huge precedence for being one of the first yakuza movies to depict the yakuza life as one of tragic animals rather than glorifying it. This plays very well into its setting of postwar pessimism and adds to the movie's credibility. Technical tricks such as hand-held camera and fast cut editing lets the viewers feel right there in the middle of the fight and adds a huge documentary feel. Director William Friedkin professed to lifting this style when he made his own "French Connection." Similarly, if you liked the recent 2002 film "City of God," refer to this film as the classic blueprint.Already well known by this time, Kinji Fukusaku had his name drawn in the Japanese film-making books forever after this series was released and then again for a younger generation when his teenage bloodpic "Battle Royale" was released in 2000. Kinji Fukusaku died in 2003 while filming "Battle Royale 2."

The yakuza of this series arose from the social and economic fallout of Japan's nuclear annihilation. Even the occupying forces jumped into bed with them so mighty was their influence.Fukusaku's DEATH OF HONOR, which was made later, depicted one man torn asunder by his own fractured obsessions. BATTLES WITHOUT HONOR depicts clans so fractured they spend most of their time tearing each other apart.Bunta Sagawara, who was to Fukasaku what Deniro was to Scorsese, is scorching as a man whose personal honor is continuously tested by betrayal and seismic shifts in the leadership plate.The late, great director's considerable skill was to illuminate gritty humanism in arenas of total chaos. His is a breathless, kinetic cinema that perfectly personifies his preferred subject matter.The details in this outing are fascinating. A scene in which yakuza buddies and a boss's wife discuss the correct procedure for sawing off a finger is priceless. Another scene in which the devoted girlfriend of a wanted man hides him under a blanket with her children is funny and horrible at the same time.The violence is sudden, bloody and realistic. Not a directorial foot is put wrong and the use of freeze frames is inspired. The pacing is brisk, the cutting sharp and unconventional.The world portrayed is absolute and absolutely convincing.This is tornado cinema.