Police Tactics, the fourth of five Yakuza Papers films, charts the mounting pressure upon the government and the authorities to clamp down on the oppressors and thugs in the form of the Yakuza groups. The people of Japan are fed up with the non-stop violence and want their country to take a more civil route, opening sweet shops and the like. This all in the same instance as the Olympics are coming to Japan.

As the title implies, the police finally have a role to play. No longer are they sidelined or given the finger like in so many other films where they appear right at the end to give that good, warm feeling of security. If incidents really took place like that, the only thing the police would be good for is cleaning up, in which case they may as well all learn home economics.

Shozo’s Hirono family has grown again, and the strength and alliances are stronger than ever. At the same time, Yamamori’s deep grudge has escalated to annihilating his rivals, and so the bitter feud continues. Uchimoto, the cowardly cretin, decides to play both sides in order to save his own skin. Brother kills brother, brother kills rivals, brother kills to run his sweetshop. There’s a feeling of senseless violence, and a change of time where the Yakuza are no longer needed, but moreover, they are no longer wanted.

Their presence, and their strength in reality is deteriating, and the stranglehold on regions slow slipping away. The Yakuza youth are impeteous in their desire to prove themselves, and tus create more mass panic and the strong arm of the authroties to clamp down on even those who bribe them. Saving public face is more important than being bribed and brown nosing it seems. What the fuel essentially boils down to now, is an argument between the trecherous Yamamori and Shozo himself.

I have noticed one inconsistency in all the films thus far, and that is that Shozo has all his fingers

At the same time, many key people on both sides are killed, because when money becomes the focus, it also becomes the root of all evil. The bitterness expels itself on to the streets, with innocent civilians becoming involved, and everyone being on edge; from the cops to the Yakuza themselves. No one wants an all out war, but unfortunately, those who have a desire to make themselves known decide otherwise. Amongst all of this, of course is the trecherary within the ranks, and those who seemed trustworthy, no longer are. It’s appalling to see the rate at which people will fall to save their own skins. Business and money is the only thing they have, with honour and pride being thrown out of the window – after all, what to do the latter offer in terms of food for the belly?

Takeda is perhaps the most interesting character, and the only one other than Shozo and his friend Iwai Akashi, who are trying to work out a resolution. Takeda is as cunning as Shozo, but more ruthless, and when the line is crossed by both sides, he is unrelenting in his desire to be the victor. Yet, there is a deep respect for Shozo, even having fitted him for an arrest, based upon a trumped charge of assault dating a year ago. That of course is how the police end up dealing with everyone, finding any crime that hadn’t been dealt with as way to arrest them.

Perhaps the most politically filled film so far, it’s more about the deception of others rather than the consolidation of groups, or the suggestion of a big upcoming war that a viewer would have prepared for after the third volume. Although a good film, and quite enjoyable, there is a feeling of an anti-climax at the end of the film. Not to spoil it for yuo, but it’s best to prepare for the worst. I am aware there is one more film which is intended to finalise the whole series of events, but as it is called Final Episode, it leaves me with little hope of what I was expecting.

Instead of a big bang, we’re given a fizzle of a sparkler. It’s like being offered a gift, not being told what is, suggesting that it is something quite big, only to find out it’s a box and not a house. Yet, I have to admit, I did like the ending, and it deals with results of what happens in a much more mature way, and one that carries perhaps more meaning. Even the final narration spells out that violence with or without the Yakuza means that violence will always exist as long as we exist, and therefore it is part of us, and not part of the Yakuza alone.

Shozo’s Hirono family has grown again, and the strength and alliances are stronger than ever. At the same time, Yamamori’s deep grudge has escalated to annihilating his rivals

As ever, the performances are quite good througout, though Sugawara looks tired and flailed by the whole experience, and this is also reflected in his character. The journey from post-war Japanese youths, to suited and booted adults with a will to kill really demonstrates how far they’ve gone, and this is perhaps one of the most interesting aspects carried over through the film. WHen you look back at what he has faced, the age shows in Shozo, and his will to fight is softened.

I have noticed one inconsistency in all the films thus far, and that is that Shozo has all his fingers. Actually, anyone who ends up cutting off their finger, seems to grow it back. Now I know the 1940s-50s did have some decent medical science, but if I knew they had the technologically to grow fingers then I’d go back in time when it was safer. Perhaps all that Japanese technology had been put to good use.

Anti-climatic then, but nonetheless enjoyable and thoughtful. It doesn’t quite deliver what it suggested it would, but it doesn’t do too bad a job of creating some exciting scenes of chaos, and street fighting. The first film has yet to be bettered by any of its sequels, and this comes close, but again doesn’t quite achieve it. Was Fukasaku drawing out something that could have been bettered in three instead of five films? I’ll decide when I watch the fifth and final film.

Verdict: Strong, dialogue-based sequel, with some good drama, solid action but a slightly underwhelming ending.