Black Tight Killers (1966) – Review

If you want proof that the 1960s were a weird and wonderful time, look no further than Yasuharu Hasebe’s Black Tight Killers, a dazzling slice of Japanese cinema that oozes with the stylish excesses of that era. This film is a fever dream of pop art visuals, jarring violence and quirky humour, all set against the backdrop of a zany espionage thriller. What more could you want?

The story follows Daisuke Hondo (Akira Kobayashi), a suave war photographer who has just returned to Japan after covering the Vietnam War, and shortly after arriving home he becomes embroiled in a dangerous and mysterious plot after meeting a beautiful flight attendant named Yoriko (Chieko Matsubara). But Yoriko is not just a typical damsel in distress; she is being pursued by a group of ruthless assassins known as the “Black Tight Killers” and this group of go-go dancing femme fatales wield everything from boomerangs to blow darts with deadly precision, and they are willing to kill anyone who gets in their way. Of course, getting killed by this group falls into the category of “There’s worse ways to die.”

At least your death will be stylish and amazing.

And what exactly are the Black Tight Killers after? They are in search of a treasure map that Yoriko unknowingly possesses, which is said to lead to a stash of  World War II gold, that her father hid before he died. As Daisuke and Yoriko try to evade the relentless pursuit of the Black Tight Killers, they uncover more layers to the conspiracy. It turns out that these beautiful assassins are not the only ones after the treasure. Okada (Hiroshi Nihon’yanagi) a man who claims to be Yoriko’s uncle. but is actually in league with a local criminal named Sabu (Eiji Gô) – who has his own gang of thugs – is also after the gold, and our two hapless leads are caught in the crossfire of these two forces. The situation becomes more complicated as the lines between friend and foe blur, with betrayals and double-crosses adding to the tension. The film’s rapid-fire plot is simply chock-full of a variety of cartoonishly evil villains, ones that you can’t wait to see dispatched.

All that is missing from these guys is a bag of money labelled “loot.”

Stray Observations:

• The Japanese title for this movie is “Ore ni Sawaru to Abunaize” which literally translates to “Touching Me is Dangerous” and is definitely a great title.
• Hondo is held under suspicion of murder but is released because his friend points out to the police “Why would a man commit murder while on a date?” Yeah, can’t argue with that logic.
• Hondo is photographed as he grabs a knife found in the back of a recently murdered man, much as what happened to Cary Grant’s character in Hitchcock’s North by Northwest. Do people not understand it’s a bad idea to grab a hold of a murder weapon?
• As heroes go Hondo’s abilities are a bit suspect, Yoriko is kidnapped four times right from under his nose. If it wasn’t for the Black Tight Killers poor Yoriko would be a goner.
• The Black Tight Killers utilize something called “bubble-gum bullets” and if that is not an actual thing it certainly needs to be because while throwing stars are cool blinding someone with bubble gum is next-level fun.
• One of the Black Tight Killers uses a technique called “Octopus Pot” which is to seize a man’s penis with the walls of their vagina, and I must say, James Bond was lucky to never encounter that tactic.
• Honda has his own gadget supplied by his mentor Momochi, and he provides him with such devices as the “Momochi Vanishing Ball,” a canister of laughing gas, as well as something called the “Momochi Secret Canon.” He’s basically this film’s “Q” from the Bond films.
• The fact that any time our hero teams up with one of the Black Tight Killers, no matter how briefly, it almost always results in them dying in his arms and is something I found a bit distressing.

This does make the original title “Touching Me is Dangerous” more appropriate.

The plot, involving a hidden treasure and double-crosses galore, is more an excuse for director Hasebe to indulge in psychedelic visuals and over-the-top action than a coherent narrative and while the film isn’t quite on par with what you’d expect in your average martial arts film of the time – it’s more on par with what you’d find in a Dean Martin Matt Helm spy-comedy – but it’s that delightfully over-the-top quality that makes this film so enjoyable. Expect plenty of high-flying martial arts, absurdly fun gadgets and enough plot twists to make your head spin. Each confrontation with the Black Tight Killers is a set piece filled with ingenuity and flair, showcasing the film’s knack for blending suspense with campy fun.

Adam West’s Batman would feel right at home here.

The film’s visual style is its most striking feature as each moment literally bursts with vibrant colours, rapid edits, and creative camera angles. Simply put, Black Tight Killers is a feast for the eyes. Every frame is a kaleidoscope of 60s fashion, kitschy set designs, and inventive action sequences, all brought to life by the brilliant cinematography of Kazuo Nanbu who brings an almost cartoonish energy to his work, lending the film an air of gleeful absurdity. But what truly sets Black Tight Killers apart is its unashamed embrace of pulp sensibilities. It’s a film where logic takes a backseat to style, where the most unexpected objects become weapons, and where the line between reality and comic book fantasy is delightfully blurred.

How can you not love a film with this kind of aesthetic?

Akira Kobayashi is perfectly cast as the dashing hero, effortlessly cool in his turtlenecks and trench coats, navigating the chaos with a bemused grin. His chemistry with Chieko Matsubara adds a touch of romance to the otherwise frenetic pace of the movie. The supporting cast, particularly the Black Tight Killers themselves, are a colourful assortment of characters that keep the film entertaining even when the plot threatens to lose focus. Yet, beneath its playful surface, there’s a subversive edge to Black Tight Killers. The film plays with the tropes of the spy genre, turning the traditionally male-dominated narrative on its head by giving the most memorable roles to its female characters. The Black Tight Killers, though villainous, are empowered figures who command attention in every scene they occupy and their final fate is the only painful element in this excellent action flick.

“Damn, lost another one.”

In conclusion, Black Tight Killers is a rollicking blast from the past that combines the best elements of spy thrillers, action films, and mod fashion into one unforgettable package and would make a great double bill with the likes of Danger: Diabolik or Modesty Blaise. It’s a film that doesn’t take itself too seriously, and neither should you. Just sit back, relax, and let this psychedelic, action-packed gem transport you to a time when danger came in the form of stylish femme fatales and every moment was a potential explosion of fun.