Norifumi Suzuki

2.1. Early Life and Education

Norifumi Suzuki was born on November 26, 1933, in Hamamatsu, Shizuoka Prefecture, Japan. His early academic pursuits led him to Ritsumeikan University's Department of Economics, but he ultimately dropped out. This early departure from formal education did not deter his ambition, as he soon found his calling in the burgeoning world of Japanese cinema.

2.2. Early Career

In 1956, Suzuki joined Toei's Kyoto Studio as an assistant director, marking his official entry into the film industry. During his formative years at Toei, he diligently learned the craft of filmmaking under the tutelage of prominent directors. From 1959 to 1964, he notably served as an assistant director to both Tai Kato and Tomu Uchida, gaining invaluable experience in various aspects of film production. He also learned from Masahiro Makino, a significant figure in Japanese cinema.

2.3. Directorial and Screenwriting Debut

Suzuki's talent for storytelling quickly became apparent. In 1963, he made his screenwriting debut with the film Zoku: Tenamonya Sandogasa, co-written with Takaharu Sawada and directed by Kōkichi Uchide. His directorial debut followed in 1965 with Osaka Dokonjō Monogatari: Doerai Yatsu, starring Makoto Fujita. Interestingly, his initial plan for a directorial debut, a samurai story intended to star Ryōko Sakuma, was rejected by Toei producer Shigeru Okada, who felt Suzuki was better suited for comedy. This led to his comedic debut, shaping his initial trajectory in the industry.

2.4. Freelance Work and Later Years

After directing and co-writing Kōtaro Makaritōru! in 1984, Suzuki decided to leave Toei to pursue a freelance career. This period allowed him greater artistic freedom and the opportunity to work on a variety of projects outside the confines of a major studio. In 1984, he directed Pantsu no ana, which notably marked Momoko Kikuchi's debut. He continued to direct films, including Hei no Naka no Purei Boru (1987), based on a novel by Jōji Abe, and Bungakushō Satsujin Jiken: Oinaru Jyosō (1989), an adaptation of a Yasutaka Tsutsui novel, for which he personally contributed to the production budget, making it a particularly cherished work. His final film as a director was Binbari High School, released in 1990 and produced by Kōji Wakamatsu.

Norifumi Suzuki died on May 15, 2014, at the age of 80, in a hospital in Musashino, Tokyo, due to an intraventricular hemorrhage.

3.1. Pioneering Genre Films

Suzuki was instrumental in shaping and contributing to several popular film genres, particularly during his tenure at Toei.

He played a pivotal role in the success of female gambler films, most notably with the Red Peony Gambler series. In 1968, he wrote the script for the first film, Red Peony Gambler, starring Junko Fuji. This film, based on the character Oryu, a horse bandit geisha who appeared in Masahiro Makino's 1966 film Nihon Daikyōkaku, became a highly successful series spanning eight films. While various directors, including Tai Kato and Kosaku Yamashita, helmed films in the series, Suzuki was crucial in establishing the character of Oryu and wrote most of the series' screenplays. He also directed the second film, Hibotan Bakuto: Isshuku Ippan, and a spin-off titled Shiruku Hatto no Ō-oyabun (1970), starring Tomisaburo Wakayama. This series paved the way for subsequent female yakuza films like Nihon Joshikyōden, Female Prisoner Scorpion, and Gokudō no Onna-tachi. Suzuki also directed many films in the Kanto Tekiya Ikka series, starting in 1969, and the sixth film in the Mamushi no Kyōdai series, Mamushi no Kyōdai: Gōdatsu San-oku-en (1973), which he also co-wrote.

Suzuki was also a key figure in the "Toei pink film" movement, directing notable works such as Onsen Mimizu Geisha (1971), Tokugawa Sex Kinshi-rei: Shikijō Daimyō (1972), and Ero Shōgun to Nijūichi-nin no Aishō (1972). One of his masterpieces in this genre, School of the Holy Beast (1974), featured Yumi Takigawa, whose stage name was coined by Suzuki himself. These films often featured bold depictions of female nudity, which critics attributed to Suzuki's skill in directing actresses, making them comfortable on set. After directing School of the Holy Beast, Suzuki moved to Toei Tokyo Studio and became involved in planning and scripting the Female Killer Fist series starring Etsuko Shihomi.

In 1975, he ventured into action and martial arts films, beginning with Shōrinji Kenpō, starring Sonny Chiba. He continued to direct films featuring members of the Japan Action Club (JAC), including Etsuko Shihomi, Hiroyuki Sanada (notably in the 1980 film Shogun's Ninja), and Akira Kurosaki. Suzuki also considered casting Angela Mao for his film Woman Killer: Virgin Road, showing his interest in international action stars.

One of his most significant contributions was the Torakku Yarō (Truck Guys) series, which commenced in 1975. Starring Bunta Sugawara, the first film, Torakku Yarō: Goiken Muyō, co-written with Shinichiro Sawai, was a massive hit and led to nine sequels. This comedic series provided a new platform for Sugawara, who was primarily known for his yakuza roles, showcasing his versatility.

3.2. Work as Screenwriter

Beyond his directorial efforts, Suzuki was a prolific screenwriter, contributing to many films directed by others, particularly in the yakuza genre. He co-wrote films such as Tai Kato's Meiji Kyokakuden: Sandaime Shumei (1965) and Kosaku Yamashita's hit series opener Kyōdai Jingi (1966). Most of his screenwriting projects were collaborations with one or two other writers.

Suzuki also extended his writing talents to television dramas, especially historical dramas. His work in television began with Sengoku Mushuku in 1967. Notable television series to which he contributed include the Yagyu Abare Tabi series, parts of Meibugyo Tōyama no Kinsan, and several episodes of the long-running Abarenbo Shogun series.

3.3. Filmmaking Philosophy and Artistic Approach

Suzuki consistently upheld Toei's corporate ethos of "sensory delinquency," which emphasized bold and often risqué content. While his films frequently featured overt masculinity and eroticism, his comedic works, often based on manga, demonstrated a nuanced and sometimes otaku-friendly sensibility, incorporating parody special effects reminiscent of American films like Ghostbusters.

Despite occasionally showcasing aesthetic direction and powerful anti-authoritarian messages-particularly recurring criticisms of Christianity-Suzuki consistently prioritized what he termed "low-brow audience service." His motto, "Low-brow is the flower of this world," underscored his commitment to commercial success and popular entertainment over critical acclaim or film awards. He remained largely unacknowledged by prestigious film festivals and the Kinema Junpo Best Ten lists throughout his career, a fact he reportedly took pride in. He considered the label of an "unprincipled craftsman" to be the highest praise.

Suzuki's approach to directing, particularly actresses, was noted for its gentleness and focus on the overall feel of a scene rather than strict adherence to logic. Actress Yoko Natsuki described him as a "wonderful uncle" who never yelled, preferring to guide actors gently by saying, "Nacchan, do it this way, this way, and give it your all." She believed he excelled at directing women. Suzuki also had peculiar theories on cinematography, claiming he intentionally used even lighting to avoid shadows, making the screen appear "stupid," and focused on deep focus to create a "flat" image, thereby enhancing the "low-brow" aesthetic. He also stated that "Politics and literature have never been on the side of the weak, so at least film should be, even if only for a moment."

Despite his commercial focus, Suzuki also expressed a deeper, more intellectual side in his essays and critical writings. His essay "Hypothesis: Kyōdai Jingi - November 25 as a Shocking Ideology," written shortly after Yukio Mishima's suicide, revealed a unique spirit and sharp intellect. His diverse filmography, spanning yakuza, porn, martial arts, action, and adaptations of manga and novels, demonstrated his versatility and refusal to be confined to a single genre.

4.1. Personal Traits and Anecdotes

Suzuki was affectionately known by his colleagues and friends as "Kobun" (コーブン^Japanese), a nickname that stemmed from a wordplay on his given name "Norifumi" (則文, そくぶん), hinting at his down-to-earth and unpretentious nature. He maintained a close alliance with Toei producer Kanji Amao, even accompanying him when Amao transferred from Toei Kyoto Studio to Toei Tokyo Studio. Despite his achievements as both a director and screenwriter, Suzuki often rejected requests for autographs, stating, "I'm just a behind-the-scenes person" or "I'm not that kind of person," reflecting his humility and preference for remaining out of the spotlight.

Anecdotes from his career reveal his passionate and sometimes fiery personality. Sadao Nakajima, a lifelong friend whom Suzuki met in 1965 while co-writing Osaka Dokonjō Monogat: Doerai Yatsu, described him as someone who would get intensely excited during discussions. Sekimoto also noted that despite his excitability, Suzuki was always willing to listen to others' opinions, often saying "Ah, I see, I see." Despite this excitability, he was also described as serious and meticulous. One famous story recounts how, during a late-night check of a film, Toei studio head Shigeru Okada dozed off. Despite the risk of Okada's harsh criticism, Suzuki defiantly shook him awake, exclaiming, "What do you mean by this towards my work?!" This led to Suzuki being severely scolded, though it showcased his unwavering dedication to his craft. Okada himself had mixed but often positive views of Suzuki, calling him "suited for comedy" and possessing a "talent for plagiarism."

Suzuki was also a supportive mentor to others. Director Ikuo Sekimoto noted that Suzuki nurtured many talents, including himself, and actively supported actors like Bunta Sugawara from early in their careers, fostering the bonds that would lead to the success of the Torakku Yarō series. When it came time for his wedding, Suzuki faced a dilemma as both Shigeru Okada and Kōji Shundō, influential figures to whom he owed much, insisted on being his matchmaker. To avoid offending either, Suzuki discreetly held his wedding in Hawaii.

He held a particular fondness for women who spoke the Kyushu dialect, a preference that was reflected in his character creations, such as Oryu, the protagonist of the Red Peony Gambler series, and Monalisa Okyo from Torakku Yarō, both of whom originated from Kyushu. Suzuki was also a great admirer of the comedian Tōru Yuri, who appeared in most Torakku Yarō films, and whom Suzuki himself stated appeared in all of them, making Yuri the most frequent actor in Suzuki's works.

4.2. Religious Views

Throughout much of his career, Suzuki repeatedly expressed criticisms of Christianity, often through the "ero-guro" (erotic grotesque) films he directed that were set in Christian contexts, such as School of the Holy Beast. However, his views underwent a significant transformation later in life. Just two months before his death, he received baptism into the Catholic Church. Following his passing, his funeral and memorial service were held at Kichijoji Catholic Church in Tokyo, marking a profound shift in his personal religious perspective.

7.1. As director

Bold indicates films where he also contributed to the screenplay.

7.2. As screenwriter