Plot: What’s it about?
Miyamoto (Michitaro Mizushima) was arrested and put behind bars, thanks to his role in a botched robbery attempt. He was not alone in his efforts, but he refused to point out his fellow yakuza members who were involved. Miyamoto has faith in his code of ethics, so while he could have served less time, he remained silent about the crime. Now time has passed and he has been released from prison, free to return to his former lifestyle. As he took the brunt of the crime’s punishment, he requests permission to sell some diamonds, which he tucked away just before he was taken by the police. He doesn’t seek the riches for himself however, instead he wants to make life better for a friend. His friend was also involved in the robbery, but he was crippled in the process, so Miyamoto wants to make amends. The agreement is made, but Miyamoto is not being given the respect he deserves. Instead, the other gangsters plan to double cross him, despite his honorable service. At the same time, the crippled friend’s sister Akika (Mari Shiraki) has learned of the diamonds and relays the information to her lover, a sculptor. So now several parties are aware of the valuable diamonds, which means the transaction will be intense. But who will end up with the diamonds and who, if anyone, will survive?
This is a Seijun Suzuki motion picture, but this is not the insane, off the wall content the director is best known for. No, Underworld Beauty is a pretty normal and by the book genre movie, though that isn’t bad news. Suzuki (Kanto Wanderer, Branded to Kill) is still able to make a damn good movie, one that genre fans won’t want to miss. The storyline provides ample atmosphere, development, and tension, but is lean and wastes no scenes. So while style is present, Suzuki focuses more on the genre elements, with superb results. You’ll notice some of the usual conventions, but Underworld Beauty never feels rehashed, even for a second. Suzuki brings a fresh texture to even the oldest of conventions, which keeps us involved. His trademark wild visuals aren’t as obvious here, but of course, he shoots the film with style and an excellent eye for subtle details. In other words, this is not as offbeat and abstract as Suzuki’s most famous films, but even so, he is able to put his signature on another terrific movie. And you can’t discuss Underworld Beauty without mentioning the music, as the tunes are quite unusual. The music is varied and unique, perhaps the most offbeat soundtrack I’ve heard from this time period. In the end, Underworld Beauty is well recommended to genre fans, even with this bare bones treatment.
Video: How does it look?
Underworld Beauty is presented in 2.35:1 anamorphic widescreen. As with Home Vision’s other Seijun Suzuki releases, this one looks good and ensures that Suzuki’s great visual sense comes through well. The print is in good condition, with no serious marks or debris, though a little grain can be seen in some sequences. I noticed a level of softness throughout, but this never proves to be a real issue, though it is evident. The black & white visuals look good outside of the softness, thanks to well balanced black levels. So the image here has some flaws, but given the material’s age, I think we can overlook the mild softness.
Audio: How does it sound?
The original Japanese soundtrack is preserved here, via a somewhat dated, but more than acceptable mono option. This is a much cleaner, clearer presentation than I had expected, as very few age related defects can be heard. I heard a few minor pops and moments of harshness, but given the age of the material, this is a superb effort. Even the smallest sounds can be heard with ease, so nothing is ever drowned out or lost in the shuffle. No worries on the dialogue front either, as all the vocals are sharp and never muffled. This disc also includes newly refined, optional English subtitles.
Supplements: What are the extras?
This disc includes Seijun Suzuki’s filmography, but no other supplements.
