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Battles Without Honor and Humanity: Deadly Fight in Hiroshima

Battles Without Honor and Humanity: Deadly Fight in Hiroshima

Drama · Crime · Action · 1973

Repeatedly beat to a pulp by gamblers, cops, and gangsters, lone wolf Shoji Yamanaka finally finds a home as a Muraoka family hitman and falls in love with boss Muraoka's niece. Meanwhile, the ambitions of mad dog Katsutoshi Otomo draws our series' hero, Shozo Hirono, and the other yakuza into a new round of bloodshed.

Movie details

Battles Without Honor and Humanity: Deadly Fight in Hiroshima

1973 Drama · Crime · Action 1h 39m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

Repeatedly beat to a pulp by gamblers, cops, and gangsters, lone wolf Shoji Yamanaka finally finds a home as a Muraoka family hitman and falls in love with boss Muraoka's niece. Meanwhile, the ambitions of mad dog Katsutoshi Otomo draws our series' hero, Shozo Hirono, and the other yakuza into a new round of bloodshed.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Battles Without Honor and Humanity: Deadly Fight in Hiroshima?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

Battles Without Honor and Humanity

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Names above the title

The people responsible.

Directed by

Kinji Fukasaku

Written by

Kazuo Kasahara · Koichi Iiboshi

Bunta Sugawara

Bunta Sugawara

Shozo Hirono

Kinya Kitaoji

Kinya Kitaoji

Shoji Yamanaka

Meiko Kaji

Meiko Kaji

Yasuko Uehara

Sonny Chiba

Sonny Chiba

Katsutoshi Otomo

Hiroshi Nawa

Hiroshi Nawa

Tsuneo Muraoka

Mikio Narita

Mikio Narita

Hiroshi Matsunaga

Gin Maeda

Gin Maeda

Koichi Shimada

Court is in session

Put Battles Without Honor and Humanity: Deadly Fight in Hiroshima on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.