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Harry Kilmer (The Yakuza)

Created by Paul & Leonard Schrader and Robert Towne

“A man never forgets. A man pays his debts.”
— from the poster.

 Imagine Chandler writing a samurai flick…

In this forgotten classic from the mid-seventies, Robert Mitchum is HARRY KILMER, an aging former G.I., and sometime P.I. (his past is suitably murky), set loose in modern day Kyoto (he served in Japan during World War II), to rescue the daughter of an old Army buddy (Brian Keith) from gangsters, and soon finds himself awash in a bloody mess of betrayal and questions of honour and commitment, of promises made and debts owed.

Remorse? Regret?

You’re soaking in it.

To rescue the girl, Harry must confront the woman he left behind, and put his faith in an old enemy who owes him a favor. He also learns a very important lesson: people who live in paper houses shouldn’t play with swords.

The film is something, all right–what at first glance might have seemed like a simple kung-fu cash-in turns out to be a slow-burn monster with vivid and disturbing scenes of violence that slug it out with equally powerful scenes of gentle but compelling poignancy.

It was based on a story by Leonard Schrader, who lived in Japan and knew well the Yakuza subculture, and turned into an excellent script by his brother Paul Schrader (Taxi Driver, Raging Bull), and Robert Towne (Chinatown). The screenplay sold for $300,000–the highest amount ever paid for a screenplay at the time, and Mitchum, in one of his last great performances, brought it all home in living (and bloody) colour. Having Sydney Pollack to helm the film didn’t hurt either.

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Report respectfully submitted by Kevin Burton Smith. Thanks to Big Al Hubin for the well-deserved whack on the head.

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