The Man Who Laughs: Standard Edition – Eureka Video (Blu-ray)

Theatrical Release Date: USA, 1928
Director: Paul Leni
Writers: J. Grubb Alexander, Walter Anthony, May McLean, Marion Ward, Charles E. Whittaker
Cast: Mary Philbin, Conrad Veidt, Julius Molnar, Olga Baclanova, Brandon Hurst, Cesare Gravina, Stuart Holmes, Sam De Grasse, George Siegmann, Josephine Crowell, Károly Huszár

Release Date: August 17th, 2020
Approximate Running Time: 110 Minutes 15 Seconds
Aspect Ratio: 1.2:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: PG (UK)
Sound: LPCM Stereo With English Intertitles, LPCM Mono With English Intertitles
Subtitles: N/A
Region Coding: Region B
Retail Price: OOP

"Adapted from the Victor Hugo novel, The Man Who Laughs is Gwynplaine (an extraordinary Conrad Veidt), a carnival sideshow performer in 17th-century England, his face mutilated into a permanent, ghoulish grin by his executed father's royal court enemies. Gwynplaine struggles through life with the blind Dea (Phantom of the Opera's Mary Philbin) as his companion—though she is unable to see it, his disfigurement still causes Gwynplaine to believe he is unworthy of her love. But when his proper royal lineage becomes known by Queen Anne, Gwynplaine must choose between regaining a life of privilege, or embracing a new life of freedom with Dea." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information given about the transfer, “4K restoration of the film completed by Universal Pictures."

The Man Who Laughs comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.4 GB

Feature: 32.6 GB

So many films from the silent era are lost, and while some imperfections remain, The Man Who Laughs looks incredible for a film that is 98 years old. For the most part, image clarity is solid, black and grey levels are strong throughout, compression is solid, and there are no issues with digital noise reduction.

Audio: 5/5 (LPCM Stereo), 4/5 (LPCM Mono)

This release comes with two audio options, a LPCM stereo mix with English intertitles scored by the Berklee School of Music and a LPCM mono mix with English intertitles that features the 1928 Movietone score. The track with the Berklee School of Music score sounds excellent, while the track with the 1928 Movietone score has background hiss and does not sound as robust.

Extras:

Extras for this release include reversible cover art, stills galleries: production stills (26 images), behind the scenes (24 images), costume/make-up tests (57 images), exhibition/trade ads (45 images), programs/posters/heralds (28 images), and memorabilia (12 images), a video essay by John Soister titled Paul Leni and The Man Who Laughs (13 minutes 44 seconds, LPCM stereo English, no subtitles), a video essay by David Cairns and Fiona Watson titled The Face Deceives (33 minutes 18 seconds, LPCM stereo English, no subtitles), and an interview with Kim Newman (12 minutes 23 seconds, LPCM stereo English, no subtitles).

Summary:

Paul Leni directed The Man Who Laughs. His other notable films include Waxworks (Das Wachsfigurenkabinett), The Last Warning, and The Cat and the Canary.

The son of an exiled nobleman is left disfigured because his father refused to bend to the king's will.

When discussing The Man Who Laughs, everything begins and ends with the iconic image of its protagonist. Before you have even seen a moment of this film, that image already puts you in a state of mind that’s reinforced as the story unfolds. It’s such a striking image that the creators of Batman used it as a template for the Joker.

While the protagonist's gaping smile gives the impression that The Man Who Laughs is a sinister film in the same vein as The Hunchback of Notre Dame or The Phantom of the Opera, the result is something closer to a melodrama than a horror film. Where revenge is central to those other two mentioned films, The Man Who Laughs is a thought-provoking film that explores disabilities, how others see us, and how that shapes one’s psyche.

There are two things that are central to The Man Who Laughs. The first and arguably the more significant is Conrad Veidt’s (The Student of Prague) extraordinary portrayal of the protagonist. While his performance relies heavily on the physical movements of his limbs, it is ultimately his gaping smile that conveys the most. Another performance of note is Mary Philbin (The Phantom of the Opera—1925 version) in the role of Dea, a blind woman who falls in love with the protagonist. Her inability to see allows her to connect with the protagonist in a way no one else can.

The second thing central to The Man Who Laughs is Paul Leni’s direction. He would tragically die just a year later after completing one more film, The Last Warning. Although his output as a director is not that prolific, based solely on Waxworks and the four films he made for Hollywood, there is a clear case to be made that he is one of the best silent-era filmmakers when it comes to delivering visually striking moments.

The narrative is flawlessly constructed; it does a superb job drawing you in and building momentum to its exemplary finale, where the protagonist is besieged by an angry mob. Another strength of the narrative is how effectively it employs comedy and tragedy. The production design should not be overlooked, as it does an outstanding job creating a believable world in which this film takes place. Ultimately, The Man Who Laughs is an extraordinary film that has not lost any of its power in the nearly 100 years since it was released.

It’s unfortunate that this release is now OOP, since Eureka's release is The Man Who Laughs' best home media release to date. Highly recommended.

Written by Michael Den Boer

The Bell from Hell – Severin Films (Blu-ray)

Theatrical Release Date: Spain, 1973
Directors: Claudio Guerín Hill, Juan Antonio Bardem
Writer: Santiago Moncada
Cast: Renaud Verley, Viveca Lindfors, Alfredo Mayo, Maribel Martín, Nuria Gimeno, Christina von Blanc

Release Date: February 3rd, 2026
Approximate Running Times: 97 Minutes 31 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Spanish, DTS-HD Mono English
Subtitles: English, English SDH
Region Coding: Region Free
Retail Price: $219.95 (Exorcismo: Defying A Dictator & Raising Hell In Post-Franco Spain)

Video: 3.75/5

Here’s the information provided about this release's transfer, “4K scan from the internegative by LTC Patrimoine & Cités de mémoire.”

The Bell from Hell comes on a 50 GB dual layer Blu-ray.

Disc Size: 46.1 GB

Feature: 20.7 GB

The Bell from Hell has not been treated well on home media, and while this new release is a massive improvement, it is not without its shortcomings. Flesh tones and colors look correct, image clarity is solid, black levels are strong, and there are no issues with digital noise reduction. When it comes to compression, there are some issues, most noticeable during darker scenes.

Audio: 4/5 (DTS-HD Mono English), 3.5/5 (DTS-HD Mono Spanish)

This release comes with two audio options, a DTS-HD mono mix in Spanish and a DTS-HD mono mix in English. Both tracks sound clear and balanced, and ambient sounds are well represented. That said, the Spanish-language track has a background that varies in degrees throughout. Included are removable English subtitles for the Spanish-language track and removable English SDH for the English-language track.

Extras:

Extras for The Bell from Hell include a theatrical trailer (1 minute 18 seconds, Dolby Digital mono English, no subtitles), an interview with film scholar Dr. Álex Mendíbil titled Censorship and Curses (30 minutes 11 seconds, Dolby Digital stereo Spanish with removable English subtitles), an audio commentary with Kat Ellinger, author of Daughters of Darkness, an audio commentary with Rod Barnett, film historian and co-host of NaschyCast, and Robert Monell, writer and editor of I'm in a Jess Franco State of Mind, and a short film directed by Claudio Guerín titled Luciano (39 minutes 26 seconds, 1.66:1 aspect ratio, Dolby Digital mono Spanish with removable English subtitles).

Luciano: A teacher murders a boy skipping school.

The Bell from Hell is currently only available as part of a collection of films titled Exorcismo: Defying A Dictator & Raising Hell In Post-Franco Spain. That release comes with 17 additional films, a documentary about Spanish cinema titled Exorcismo: The Transgressive Legacy of Clasificada "S," and a 168-page book.

Summary:

The Bell from Hell was directed by Claudio Guerín Hill, whose only other theatrical feature film was The House of Doves. He would die on the last day of shooting The Bell from Hell, and Juan Antonio Bardem (The Corruption of Chris Miller) would be brought in to complete the film.

A man falsely accused of being insane is released from an asylum and returns to his family home. He tries to prove that he’s not losing his mind, while someone close to him sets in motion a plan to get rid of him once and for all.

While The Bell from Hell has horror elements like eerie atmosphere and a few well-placed jump scares, the result is something closer to a psychological thriller. The Bell from Hell is also a film filled with deception; no one is what they appear to be, and most characters have ulterior motives that are revealed as the narrative unfolds. Throughout the film, a bell travels through town, and the finale solidifies its significance.

Made during the Franco regime, The Bell from Hell is a clear example of a film using the oppressive system to its advantage by injecting subversive subject matter. Notable examples are how it conveys the protagonist's incestuous relationship with his three cousins and how it takes on the bourgeois. While The Bell from Hell does a superb job slipping subversive subject matter into the story that unfolds, it is not a film without faults. That said, The Bell from Hell is a film that relies more on atmosphere than on laying out a straightforward narrative.

There is not much in the way of fleshing characters out; fortunately, all of the performances are strong. Renaud Verley (The Damned) portrays Juan, a young man whose sanity others question. Juan is a mischievous person whose thought process is almost childlike, and his performance perfectly captures these qualities. The most notable cast member is Maribel Martín (The Blood Spattered Bride) in the role of Esther, one of Juan's cousins.

Besides an ample amount of atmosphere, another area where The Bell from Hell excels is its striking imagery. The most notable moment is a scene that takes place in a slaughterhouse, and the horrors of such a place are shown without a filter. Other visually arresting moments are the scene where Juan’s three cousins emerge slowly from the fog and an exemplary finale where Juan’s fate becomes intertwined with the aforementioned bell. Another strength is Adolfo Waitzman’s (The Other Side of the Mirror) score, which does a phenomenal job reinforcing the mood. Ultimately, The Bell from Hell does an excellent job drawing you in, holding your attention, and its finale stays with you.

Severin Films gives The Bell from Hell its best home media release to date. Recommended.

Written by Michael Den Boer

A Hero Never Dies – Chameleon Films (Blu-ray)

Theatrical Release Date: Hong Kong, 1998
Director: Johnnie To
Writers: Szeto Kam-yuen, Yau Nai-hoi, Milkyway Creative Team
Cast: Leon Lai, Lau Ching-wan, Fiona Leung, Yoyo Mung Ka-wai, Lam Suet

Release Date: January 7th, 2026
Approximate Running Time: 98 Minutes 16 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD 5.1 Cantonese, LPCM Stereo Cantonese, LPCM Stereo Mandarin
Subtitles: English
Region Coding: Region Free
Retail Price: $39.95 AUD (Australia)

"Jack (Leon Lai) and Chau (Lau Ching-wan) are rival bodyguards whose bosses are engaged in a bloody power struggle that has spilled out of Hong Kong and into Thailand. The two opposing gunmen butt heads, cars, and wine glasses, though they are mirror images, alike in the belief that their destiny stems not from the stars but from the barrel of a gun. Much blood and even more red wine will be spilled in extremes of violence and loyalty. You know the feeling. You have an automatic pistol in each hand, and you walk into a room full of people who need to be shot…" - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about this release's transfer, "Digitally cleaned-up & restored feature presentation."

A Hero Never Dies comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.3 GB

Feature: 30.4 GB

No information is provided about the source; that said, this transfer looks excellent. Flesh tones and colors look correct; image clarity, contrast, black levels, and compression are solid; and there are no issues with digital noise reduction.

Audio: 5/5 (All Audio Tracks)

This release comes with three audio options, a DTS-HD 5.1 mix in Cantonese, a LPCM stereo mix in Cantonese, and a LPCM stereo mix in Mandarin. Quality- and range-wise, all audio tracks are comparable. That said, dialog comes through clearly, everything sounds balanced, and ambient sounds are well represented. Included are removable English subtitles, which tell you if someone is speaking Cantonese, Mandarin, or Thai, and there are a few dialog exchanges in English.

Extras:

Extras for this release include a photo gallery with music from the film playing in the background (8 stills), a theatrical trailer (3 minutes 16 seconds, LPCM stereo Cantonese with non-removable English subtitles), outtakes (5 minutes 1 second, LPCM stereo with music from the film playing in the background), an archival interview with actress Yoyo Mung Ka-wai (2 minutes 45 seconds, LPCM stereo Cantonese with non-removable English subtitles), an interview with Milkyway Image sound designer Martin Chappell (41 minutes 47 seconds, LPCM stereo English, no subtitles), screenwriter Yau Nai-hoi, and action choreographer/actor Yuen Bun (25 minutes 41 seconds, LPCM stereo Cantonese with non-removable English subtitles), a video essay by filmmaker Zach Closs titled Escaping Fate (9 minutes 16 seconds, LPCM stereo English, no subtitles), an audio commentary with Hong Kong cinema expert Frank Djeng, a slipcase, and a 16-page booklet with cast & crew information, and an essay about A Hero Never Dies written by Tim Youngs.

Summary:

Rivals, whose triad gangs are engaged in a war, forge a friendship and unite against their former bosses who have betrayed them.

While Johnnie To is known for his action/crime films, it was not until he directed A Hero Never Dies that he finally solidified himself as one of the key directors making heroic bloodshed films. Another clear influence that permeates A Hero Never Dies is the spaghetti western, in particular, Sergio Leone's Dollars trilogy. Johnnie To follows Sergio Leone’s example of less is more when it comes to dialogue. That said, A Hero Never Dies is a perfect fusion of the heroic bloodshed film and the spaghetti western.

The narrative does an exceptional job fleshing out its two lead characters, Jack and Chau. It is clear early on that both of them have solid instincts that keep them alive and one step ahead of anyone out to get them, and they have no fear of death. While they are from rival triad gangs, it is these traits that they share that bring them together. Another thing that they have in common is strong women in their lives, who are just as fearless and willing to put their lives on the line.

All around, the cast are excellent in their roles, especially Leon Lai (Fallen Angels) and Lau Ching-wan (Running Out of Time) in the roles of Jack and Chau. Their characters' relationship is reminiscent of the two leads from John Woo’s The Killer, and they have a tremendous amount of onscreen chemistry, which elevates their performances and everyone around them. The unsung heroes of A Hero Never Dies are Yoyo Mung Ka-wai and Fiona Leung in the roles of Jack and Chau’s girlfriends. Another performance of note is Lam Suet, a frequent collaborator of Johnnie To, in the role of a triad member.

Although the narrative effectively captures your attention, it is in the action sequences where Johnnie To’s direction truly excels. The first sequence that stands out is an ambush at a hotel in the middle of nowhere in which the bullets fly and the bodies start piling up. It is an intense sequence that culminates with Jack and Chau shooting each other through a wall. The second sequence that stands out is an equally carnage-filled finale where Jack and the recently deceased Chau take on their former bosses and their henchmen. By pretending that Chau is still alive, Jack allows him to die honorably while participating in the revenge. Ultimately, A Hero Never Dies is an exhilarating film that strikes the perfect balance between exposition and style.

If you appreciate the work of Johnnie To and have an interest in Hong Kong cinema, you should definitely take note of Chameleon Films, a home media company worth your attention. All of their releases are region-free and English-friendly and free of any ugly ratings logos. There is no reason to wait for a U.S. release, as it is unlikely to match the quality of these offerings. A Hero Never Dies gets an exceptional release from Chameleon Films that comes with a solid audio/video presentation and informative extras. Highly Recommended.

Written by Michael Den Boer

Iphigenia: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Greece, 1977
Director: Michael Cacoyannis
Writer: Michael Cacoyannis
Cast: Irene Papas, Tatiana Papamoschou, Kostas Kazakos, Costas Carras, Christos Tsagas, Panos Mihalopoulos, Dimitri Aronis 

Release Date: February 23rd, 2026 (UK), February 24th, 2026 (USA)
Approximate Running Time: 129 Minutes 16 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 12 (UK), NR (USA)
Sound: LPCM Mono Greek
Subtitles: English
Region Coding: Region A,B
Retail Price: £14.99 (UK), $39.95 (USA)

"After mistakenly slaying a sacred deer, Agamemnon is ordered to atone for his sin by the gods. In order for them to guarantee safe passage for his armies to Troy, he must make the ultimate sacrifice: the death of his beloved daughter, Iphigenia. Torn between family and country, he attempts to keep the details of the impossible ultimatum from his wife, Clytemnestra (Irene Papas, We Still Kill the Old Way), choosing to deceive her while he wrestles with the implications of his decision, while those around him wait tensely for his answer." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about the transfer, "Iphigenia was delivered to Radiance Films as a high-definition digital file by Park Circus."

Iphigenia comes on a 50 GB dual layer Blu-ray.

Disc Size: 36.2 GB

Feature: 29.9 GB

Although this new transfer is a marked improvement over this film's previous English-friendly home media releases, some minor instances of print debris and reel-change cigarette burns remain. Flesh tones and colors look correct, image clarity, black levels, and compression are solid, and there are no issues with digital noise reduction.

Audio: 4.25/5

This release comes with one audio option, a LPCM mono mix in Greek with removable English subtitles. The audio is in excellent shape; dialogue always comes through clearly, everything sounds balanced, and the score sounds appealingly robust.

Extras:

Extras on this release include archival footage of press conference at 1977 Cannes film festival (11 minutes 3 seconds, Dolby Digital mono French with removable English subtitles), an archival interview for French TV with director Michael Cacoyannis and actress Irene Papas (6 minutes 12 seconds, Dolby Digital mono French with removable English subtitles), an interview with Greek film expert Dimitris Papanikolaou who discusses the cinema of  Michael Cacoyannis (25 minutes 2 seconds, Dolby Digital stereo English, no subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 20-page booklet (limited to 2000 copies) with cast & crew information, an essay titled Michael Cacoyannis's Iphigenia: Aesthetic and Moral Complexities in a Flawed Masterpiece written by Vrasidas Karalis, and information about the transfer.

Summary:

Michael Cacoyannis directed Iphigenia. He's known for Stella, Electra, Zorba the Greek, and The Trojan Women. Iphigenia is the third film in Michael Cacoyannis’ “Greek Tragedy” trilogy; the other two films are Electra and The Trojan Women. All three films in the “Greek Tragedy” trilogy were adapted from stage plays written by Euripides.

Agamemnon, the king of Argos, angers the gods when he accidentally kills a sacred deer. He can only appease the gods by sacrificing his first-born daughter, Iphigenia.

Although Menelaus' wife, Helen, running away with Paris to Troy is the event that sets the story that unfolds in motion, Agamemnon's killing a sacred deer reshapes its trajectory. From there the narrative explores Agamemnon’s dilemma: does he sacrifice his flesh and blood or will he betray the country he’s sworn allegiance to? That said, the conflict that arises from the choices facing Agamemnon ultimately drives the narrative.

The most surprising aspect is how outstanding the three leads' performances are: Kostas Kazakos (In the Name of the Law) in the role of Agamemnon, Irene Papas (Oasis of Fear) in the role of Agamemnon's wife, and Tatiana Papamoschou in the role of the protagonist Iphigenia. Although Tatiana Papamoschou was making her first screen appearance, she delivers a performance well beyond her experience. That said, all of the cast deliver excellent performances that elevate the story that unfolds.

There is no area where Iphigenia does not excel; it's impressive production design that does a phenomenal job drawing you into the world being created and a beautifully photographed film that takes full advantage of scenic landscapes. As it builds to the moment of the daughter's sacrifice, the flawlessly executed narrative masterfully creates tension. Another area of note is Mikis Theodorakis's (Z) score, which perfectly reinforces the mood. Ultimately, Iphigenia is an enthralling melodrama that quickly draws you in, holds your attention, and whose finale moment lingers in your mind.

Iphigenia gets a solid release from Radiance Films that comes with a strong audio/video presentation and insightful extras. Recommended.

Written by Michael Den Boer

The Japanese Godfather Trilogy: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Japan, 1977 (The Japanese Godfather), Japan, 1978 (The Japanese Godfather: Ambition, The Japanese Godfather: Conclusion)
Director: Sadao Nakajima (All Films)
Cast: Shin Saburi, Kôji Tsuruta, Hiroki Matsukata, Kô Nishimura, Etsushi Takahashi, Bunta Sugawara, Shin’ichi ‘Sonny’ Chiba, Asao Koike, Mikio Narita, Toshirô Mifune, 

Release Date: February 23rd, 2026 (UK), February 24th, 2026 (USA)
Approximate Running Time: 132 Minutes 11 Seconds (The Japanese Godfather), 140 Minutes 42 Seconds (The Japanese Godfather: Ambition), 129 Minutes 16 Seconds (The Japanese Godfather: Conclusion)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Japanese (All Films)
Subtitles: English (All Films)
Region Coding: Region A,B
Retail Price: £39.99 (UK), $99.95 (USA)

"At the dawn of the 1970s, Japan is becoming an economic superpower and the Nakajima crime syndicate extends its grasp across the nation. Politicians and corporations seek the gang’s favor to form strategic and highly prosperous partnerships, but its leaders disagree about whether to leave the old ways behind for the sake of money and respectability." - synopsis provided by the distributor

Video: 4/5 (All Films)

Here’s the information provided about the transfer, "The Japanese Godfather Trilogy was transferred in high definition by Toei Company, Ltd. and supplied to Radiance Films as high-definition digital files."

The Japanese Godfather comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.8 GB

Feature: 35.4 GB

The Japanese Godfather: Ambition comes on a 50 GB dual layer Blu-ray.

Disc Size: 41.4 GB

Feature: 37.7 GB

The Japanese Godfather: Conclusion comes on a 50 GB dual layer Blu-ray.

Disc Size: 40.7 GB

Feature: 35 GB

All of the sources are free of any debris or source imperfections. Flesh tones and colors look correct, image clarity is strong, compression is solid, and there are no issues with digital noise reduction. That said, while back levels generally look strong, there are moments where they are not as convincing.

Audio: 4/5 (All Films)

Each film comes with one audio option, a LPCM mono mix in Japanese with removable subtitles. All tracks sound clean, clear, and balanced, and ambient sounds are well-represented.

Extras:

Extras are spread over three discs. Extras include two theatrical trailers for The Japanese Godfather (5 minutes 26 seconds, LPCM mono Japanese with removable English subtitles), three theatrical trailers for The Japanese Godfather: Ambition (6 minutes 30 seconds, LPCM mono Japanese with removable English subtitles), two theatrical trailers for The Japanese Godfather: Conclusion (6 minutes 3 seconds, LPCM mono Japanese with removable English subtitles), an archival interview with Sadao Nakajima (33 minutes 12 seconds, LPCM stereo Japanese with removable English subtitles), an appreciation by filmmaker Kazuyoshi Kumakiri (16 minutes 9 seconds, LPCM stereo Japanese with removable English subtitles), and an interview with scriptwriter Koji Takada (28 minutes 54 seconds, LPCM stereo Japanese with removable English subtitles).

Other extras include reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 40-page booklet (limited to 2000 copies) with cast & crew information for each film, an essay titled The Toei Studio and the Yamaguchi-Gumi written by Akihiko Ito, an essay titled Familiar Faces written by Tom Mes, archival writing by cinematographer Toshio Masuda titled Notes on Filming Japanese Godfather, and information about the transfers.

Summary:

Sadao Nakajima directed The Japanese Godfather Trilogy. He’s known for Memoir of Japanese Assassinations, Hot Springs Konjac Geisha, The Kyoto Connection, Tokyo-Seoul-Bangkok, Jeans Blues: No Future, The Rapacious Jailbreaker, and The Great Okinawa Yakuza War.

Toei led the yakuza film industry in the 1970s, and although the Japanese Godfather trilogy shares many similarities with their other yakuza films, it distinguishes itself from its contemporaries. The most notable difference between the Japanese Godfather trilogy and other Toei yakuza films comes down to tone. Where Toei’s yakuza films, especially those by Kinji Fukasaku, are characterized by a kinetic energy, the Japanese Godfather trilogy adopts a more restrained tone that aligns more closely with Francis Ford Coppola’s The Godfather films.

Each Japanese Godfather film has a sprawling narrative that’s filled with numerous characters whose stories receive significant screen time. While some of the most memorable characters are secondary, like Shin’ichi ‘Sonny’ Chiba’s Sakoda (he’s only in the first film), it is ultimately Sakura and Oishi whose stories drive the narratives. Both of these characters are vying to become the next Don, and what ensues is a power struggle where each of these men's underlings makes moves to better position their boss.

While this trilogy features violent outbursts, the first film stands out as the most violent of them all. The second film has the least amount of violence, while the third film’s final act dives into the violent side of these characters. All of these films are heavily reliant on dialogue, and there is considerable posturing throughout. Despite their lack of kinetic energy and minimal use of violence, these films remain consistently enthralling. Ultimately, the Japanese Godfather trilogy consists of three well-crafted yakuza films that represent a high point in Toei’s 1970s Yakuza cinema.

The Japanese Godfather Trilogy gets a first-rate release from Radiance Films that gives each film a strong audio/video presentation and insightful extras. Highly recommended.

 

Written by Michael Den Boer