To say director Seijun Suzuki was ahead of his time is a vast understatement. In my eyes, there is still not a filmmaker like him even working today. No one in the spectrum even comes close to the creative genius working the strings behind the mind of Seijun Suzuki. The year 1964 was an important time for the director having just come of his first official oft-kilter films such as KANTO WANDERER and YOUTH OF THE BEAST. He had finally found a look and feel that would become his filmmaking signature. As the years would pass, Suzuki would become more and more rebellious in his visuals and style and becoming something the world of cinema had never seen before. While clearly not up to par with Suzuki’s GATE OF FLESH made the same year, THE FLOWERS AND THE ANGRY WAVES will still manage to satisfy at least fans of the cult director. 

As with most of his films, this one is packed with great performances, however, two actors rise above the rest. Just as one would expect, lead actor Akira Kobayashi, as ex yakuza man gone straight, is a joy to watch. I found his character to be just as intriguing as his work in such films as Suzuki’s KANTO WANDERER and Hasebe’s BLOODY TERRITORIES along with his role as Takeda in the BATTLE WITHOUT HONOR AND HUMANITY series. Kobayashi is honestly one of those unparalleled actors of Japanese film that will just keep you interested no matter how weak the film. Another standout comes from Suzuki regular Isao Tamagawa as Detective Tanioka in a very likable role as the private eye with a heart for love. 

On the flipside, the one character I found frustratingly underdeveloped was the one, which could have been one of the most satisfying. Actor Tamio Kawaji (also a frequent Suzuki player) does a knockout job as Yoshimura the assassin sent to dispose of Kikuji. However, the origins of his past is never fully brought to the table causing a rather uninspiring role. Kawaji’s character had a strong potential of being the scene-stealer of the film but I often felt left high and dry. This problem, however, leans more toward the lack of story development in the screenplay rather than of the actor or director. Kawaji still manages to do a sensational job with the cards he is dealt. His contribution to the film helps it to rise above other such efforts of the time period.

The beauty of the film can quite frankly be credited to mainly two individuals, cinematographer Kazue Nagatsuka and production designer Takeo Kimura. Both regulars of Suzuki’s film repertoire, they create a film that is just a true sight for sore eyes. Nagatsuka’s camerawork is some of the best I have seen in a Suzuki film. His frequently used track shots throughout the film unearth some of art director Kimura’s best work. His landscapes and recreation of ancient Japan is just a wonder to view. Mixed with Seijun Suzuki’s knack for color and you have an absolute dream team of talent behind the film. Suzuki even manages to throw in a few sword battles, which seems to shed some light on what a samurai film may have looked like through his eyes. 

The trouble with the film solely lies in the hands of the writers, which sadly enough includes art director Kimura. I really didn’t feel passionately about most of the characters in the film, especially the supporting female roles. In my opinion not enough substance was left for those surrounding lead actor Kobayashi. I believe the audience would have felt more pain and suffering of the films characters if we had only been informed of a bit more background on their portrayals. With a script based on a pulp novel by Japanese writer Koji Aoyama, we are left instead to wonder if the screenwriting team left out some essential character development from the source material. Suffice to say, Seijun Suzuki takes what he is given and really makes the most of it. 

While not as exciting as the work that came before it (YOUTH OF THE BEAST, KANTO WANDERER) or definitely not those that followed (GATE OF FLESH, TATTOOED LIFE, TOKYO DRIFTER just to name a few…) THE FLOWERS AND THE ANGRY WAVES is still a powerful stepping stone in an ongoing track record of a pure genius still at the top of his game after all these years.