Modern Lady Gambler is the story of a yakuza widow who wants to take revenge on the killers of her husband.
#1 YAKUZA WOMAN
The year is 1972, the classical yakuza films are on the slow decline, leaving space for more modern violent stories like Kinji Fukasaku’s. But the Toei studios hasn’t given up on the classical approach, producing still some old school chivalry yakuza flicks, making only small changes to the formula.
Just like in the Red Peony series, the main character of this film is a woman, but she’s not that respectful of the underworld rules, she’s more interested in her revenge than being a good honorable gangster – in fact, she’d have seemed pretty happy to be the perfect wife of a yakuza boss. Hint, that may be Tai Kato’s old fashioned views resurfacing?
But while the main character may not be too attached to the traditional code, Modern Lady Gambler clearly depicts an underworld where these values are highly important. The gangsters are living accordingly to the code, either they’re loyal to their clan, or they follow their own feelings at their own risk.
And you can spot the clear differences between a true yakuza – knowing violence isn’t the answer – and a corrupted one – ready to do anything for power. It’s a solid and involving revenge story. It works just fine.
#2 THAT DIRECTOR NAMED TAI KATO
As a director, Tai Kato creates an astonishingly beautiful piece of work. As usual, you can recognize Kato’s personal touch, the long takes, the low-angle fixed shots… But more importantly, he makes an incredible use of the settings.
He’s always playing with some visual elements, let it be smoke or windows, or take advantage of the deep of field. He knows how to use all that for narrative purposes, to insert nice ideas into the scenes. His sense of directing allows him to deliver quite dynamic sequences without even having to move the camera or edit his shots. Entertainment at its finest!
For instance, there’s this short dialogue scene, in which a yakuza boss is convincing another gangster to make a dangerous move – the latter one will slowly accept it: visually, his head will enter into the logo of the yakuza clan, which is on a window at the foreground. Right after that, while talking, the boss stands up, and opens the other part of that same window: the logo disappears, suggesting he may be not really care for the clan — watch the video below!
#3 A MODERN YET CLASSICAL FILM
The direct consequences of his style? Modern Lady Gambler is filled with visual symbols that underline the sexual overtones of the story – after all, it’s about a woman whose husband has been taken away from her, someone/thing must fill the gap, somehow?
That’s why, visually, the film contains lots of windows & doors – frames within the frame, looking like a woman’s private parts? A train can often be seen, or heard in the background, with the smoke slowly appearing – like desires?
And yet, the film is openly violent – seriously, the final fight is a bloodbath! – but it does seem that Tai Kato is trying to bring a touch of naive romanticism to the story, which serves as a little reminder, this is a classical yakuza movie, indeed!
AKA Showa onna bakuto, 昭和おんな博徒