jeśli twoje dziecko najbardziej na świecie kocha filmy, a ty najbardziej na świecie kochasz swoje dziecko, to kup mu cinema speculation - w świątyni, rozdział 13:

Besides the fact that they’re good movies, they also share complex male Schraderesque protagonists at their center, and all three scripts end in Peckinpah-like blood-all-over-the-walls violent catharsis (which in all three motion pictures are spectacularly achieved). The script for The Yakuza takes the Daiei Japanese yakuza film and plays it pretty straight, just fashions it for Western audience consumption. (..) Takakura Ken takes on his Japanese opponents, shirtless, green dragon tattoo covering his muscled back, with a samurai sword, while Big Bob Mitchum blasts through rice paper walls with a double barrel shotgun. Talk about East meets West! (..) The general word on The Yakuza, from both Schrader and the big deal critics of its day, was that director Sydney Pollack was not the man for the job. Pauline Kael spent about thirty percent of her review listing all the filmmakers who would have been better suited for this property. Pollack wasn’t perfect casting for the project. Nevertheless The Yakuza remains a unique, nifty 70’s gangster thriller with two great action stars being outstanding. (..) And the swordplay – shotgun action in The Yakuza’s rousing vengeance climax is well done. And considering the film was made at Warner Brothers, the same studio that made Enter The Dragon, Schrader should be counting his lucky stars that Robert (clod) Clouse didn’t get assigned to his Asian-western project. It’s just you wish a director with a greater facility with pulp (Aldrich, Don Siegel, Phil Karlson, Ralph Nelson), or a director with the sensibility to turn pulp into art (Peckinpah, Polanksi, Joseph H. Lewis) had been in charge. (..) And the film’s final coda, “The Finger cutting scene,” is, for me, one of the great endings of any movie of its era.