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""Phoenix" Tetsu es un asesino a sueldo reformado que ha seguido el ejemplo establecido por su jefe, aparentemente arrepentido de su trabajo. Una vez alejado del mundo delincuente, Tetsu se encuentra vagando por las calles de Tokyo, eludiendo a la par que esperando una muerte segura a manos del villano Viper. Tan sólo le queda la compañía de su novia, cantante de un nightclub."
"A Japanese gangster tries to go straight when his boss disbands their gang."
"Classic Japanese Yakuza thriller from visionary director Suzuki Seijun. Tetsu is a former hit man who has now joined his boss Kurata in going straight. But old rivalries soon lead to outbreaks of violence, and Tetsu, decked out with a stoic attitude and a handsome powder-blue suit, decides to leave the city in order to draw the heat away from Kurata. What follows is a vividly-designed pop odyssey complete with bursts of stylized violence and an off-beat genre-defying logic."
"Reformed killer Tetsu wanders around Japan, awaiting his own execution, until he is called back to Tokyo to help battle a rival gang. This edition of the film includes an interview with the director."
"Reformed killer Tetsu wanders around Japan, awaiting his own execution, until he is called back to Tokyo to help battle a rival gang. This edition of the film includes an interview with the director."@en
"Reformed killer Tetsu wanders around Japan, awaiting his own execution, until he is called back to Tokyo to help battle a rival gang."
""An ice-cool hit-man is a powder-blue suit, Tetsu decides he's had enough of killing and wants to go straight. His associates, however, have other plans ..."--Container."
""In this jazzy gangster film, reformed killer Tetsu's attempt to go straight is thwarted when his former cohorts call him back to Tokyo to help battle a rival gang. Director Seijun Suzuki's onslaught of stylized violence and trippy colors is equal parts Russ Meyer, Samuel Fuller, and Nagisa Oshima, an anything-goes, in-your-face rampage. Tokyo Drifter is a delirious highlight of the brilliantly excessive Japanese cinema of the sixties"--Container."
"Tetsu, an ace fighter and hit man, is out of his time. He is a wanderer stoically awaiting his own extinction. He is called back to Tokyo to help in the struggle between his old employers, the Kurata gang and the rival Otsuka gang. Then he is on the run, pursued by "Viper" Tatsu, through snow covered mountains to a final showdown."
""Former killer Tetsu has a plan to go straight and leave his violent life behind. When his past won't leave him alone, Tetsu answers the only way he knows how - in decisive and deadly fashion." -- from Container."
"Reformed killer Tetsu wanders around Japan, awaiting his own execution, until he is called back to Tokyo to help battle a rival gang. This edition of the film includes an interview with the director."
"In this jazzy gangster film, reformed killer Phoenix Tetsu's attempt to go straight is squashed when his former cohorts call him back to Tokyo to help battle a rival gang. Includes video interviews with the directors and an essay by film critic Howard Hampton."
"The Tokyo drifter is Tetsu, a loyal hit man, given to wearing white suits, living out of his time. Tetsu is drawn by his former employer, now attempting to go straight, into a struggle with a rival gang. This is ostensibly a formula genre (yakuza) film transformed by Suzuki into an absurdist thriller by pushing iconography and conventions to hyperbolic extremes. Also pushed to extremes is the characterisation of the nihilistic hero of the yakuza film (a Japanese hero stripped of traditional codes and rituals) played here by a Japanese teenage idol. According to critic Tadao Sato, Suzuki's farces have roots not only in early Japanese cinema but also in the comical literature of the Edo period (1765-1831). The stylised violence combines humour and aesthetics in the manner of 19th century kabuki 'blood festivals'"
"The Tokyo drifter is Tetsu, a loyal hit man, given to wearing white suits, living out of his time. Tetsu is drawn by his former employer, now attempting to go straight, into a struggle with a rival gang. This is ostensibly a formula genre (yakuza) film transformed by Suzuki into an absurdist thriller by pushing iconography and conventions to hyperbolic extremes. Also pushed to extremes is the characterisation of the nihilistic hero of the yakuza film (a Japanese hero stripped of traditional codes and rituals) played here by a Japanese teenage idol. According to critic Tadao Sato, Suzuki's farces have roots not only in early Japanese cinema but also in the comical literature of the Edo period (1765-1831). The stylised violence combines humour and aesthetics in the manner of 19th century kabuki 'blood festivals'."