NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.

ADDITION: 88 Films Blu-ray (April 2025): 88 Films have transferred Kinji Fukasaku's Jakoman and Tetsu to Blu-ray. The source is not in ideal condition with frequent speckles, contrast flickering (mostly in the first third,) dark scenes obscuring detail and occasional warping. The black-and-white aesthetic, while budget-driven, enhances the film’s gritty realism, aligning with the social dramas of the era like Yasujirō Ozu’s Tokyo Twilight (1957.) It is on a dual-layered disc with a max'ed out bitrate. Jakoman and Tetsu was shot by Yoshio Miyajima - Kwaidan, Harakiri, The Human Condition - a seasoned cinematographer also known for his work on Akira Kurosawa’s High and Low (1963) and Sanjuro (1962.) The Shakotan Peninsula in northern Hokkaido, where the film is set, is captured in expansive wide shots that highlight the harsh beauty of the coastal landscape. Textures on the Blu-ray are inconsistent - but mostly thick and heavy. It's an imperfect image quality - keep expectations modest - but it still captures the film's emotional intensity.

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On their Blu-ray, 88 Films use a linear PCM dual-mono track (24-bit) in the original Japanese language. The ambient soundscape of Jakoman and Tetsu is a standout element, immersing viewers in the harsh, isolated world of the Shakotan Peninsula. The sound design reflects the meticulous attention to environmental detail typical of 1960s Japanese cinema, particularly in social dramas that aimed for realism. The film’s rural setting and focus on labor make ambient sounds a critical component of its auditory identity. The film is saturated with the sounds of the natural environment - howling winds, crashing waves, and the creak of icy docks create a palpable sense of place. Jakoman and Tetsu has a soundtrack composed by Masaru Satō (Yakuza Wives, The Sword of Doom, Ebirah, Horror of the Deep, Yojimbo, The Bad Sleep Well, Seven Samurai, High and Low). Satō’s score for this film is understated, blending traditional Japanese instrumentation - the shamisen and taiko drums - with Western orchestral elements to reflect the rural setting and emotional stakes of the story. While not as iconic as his work on Kurosawa’s samurai epics, the score complements the film’s tone without overshadowing its naturalistic soundscape. The dialogue is clear and naturalistic, reflecting the rural dialect of Hokkaido fishermen although I noticed a few sync issues. The uncompressed transfer does a reasonably strong job exporting the film's audio. 88 Films offer optional English subtitles on their Region FREE Blu-ray.

The 88 Films Blu-ray offers a new commentary by Jasper Sharp (The Midnight Eye Guide to New Japanese Film) and Tom Mes (Japanese Film and the Challenge of Video.) They are knowledgeable and engaging, balancing academic analysis with accessible commentary. They touch on the 1949 version of the story, Hokkaido location, Fukasaku’s early career, his dynamic with Ken Takakura (who reportedly clashed with the director), and the film’s significance as a precursor to Fukasaku’s yakuza films. This commentary adds depth, making the film’s historical and cinematic importance clearer, especially for viewers unfamiliar with 1960s Japanese cinema. An insightful and engaging commentary that adds significant value for fans and scholars. Film critic Mark Schilling (The Encyclopedia of Japanese Pop Culture) delivers an 18-minute introduction, focusing on the script’s origins and thematic elements discussing Akira Kurosawa’s contributions ("Kurosawa by proxy"), emphasizing how the screenplay reflects Kurosawa’s focus on impoverished communities and moral complexity - evident in the portrayal of the fishermen and Jakoman’s tragic backstory. There is also a stills gallery that includes press photos. The package has a booklet essay by Chris D. and reversible sleeve art (see below.)

Kinji Fukasaku's Jakoman and Tetsu unfolds in March 1947 on the Shakotan Peninsula in northern Hokkaido, at the Shimamui fishing grounds, where the aging fishery boss Kyubei (Isao Yamagata) faces financial uncertainty after Japan’s defeat in World War II. The screenplay, adapted by Akira Kurosawa and Senkichi Taniguchi from Keizo Kajino’s novel Nishin gyogyo (Herring Fishery), centers on Kyubei’s struggle to sustain his fishery during the herring season. He and his son-in-law Sōtarō (Tetsuro Tamba) hire migrant workers, but tensions arise with the arrival of Jakoman (Hideki Takahashi), a one-eyed criminal seeking revenge. The narrative follows a three-act structure: the first act establishes the post-war setting and Kyubei’s struggles, the second act escalates with Jakoman’s vengeful disruption, and the third act resolves through Tetsu’s return and mediation. The film captures Japan’s post-war economic hardship, particularly in rural areas like Hokkaido. The Shimamui fishing grounds symbolize a microcosm of a nation rebuilding - Kyubei’s financial woes reflect the broader collapse of traditional industries after the war, while the migrant workers embody the displacement and desperation of the era. Other Japanese films similar to Jakoman and Tetsu would be, Kurosawa's 1948 Drunken Angel - it stands out as the most evocative, due to its post-war setting, black-and-white realism, focus on marginalized communities, and themes of redemption amidst societal decay. When a Woman Ascends the Stairs (1960) by Mikio Naruse and The Burmese Harp (1956) by Kon Ichikawa are also strong parallels, sharing the focus on post-war struggle, moral complexity, and a monochromatic aesthetic. These films, all from Japan’s post-war cinematic golden age, reflect a shared concern with the human cost of war and the search for healing, making them ideal companions to Fukasaku’s early work. Despite the video warts this 88 Films Blu-ray is a valuable addition to the canon of 1960s Japanese cinema, offering a window into Fukasaku’s early style and the post-war era. Scholarly and collectible features that add depth, with the commentary and introduction standing out. Absolutely recommended.

Gary Tooze