Always in trouble with his producers, Seijun Suzuki was given a tiny budget for this gangster story. Since Suzuki had little money to spend on sets he painted outrageous monochrome sets and created the most abstract and stylized gangster film this side of John Boorman’s POINT BLANK. There are few greater experiences you can have in a theater than watching TOKYO DRIFTER’s enormous color fields and avant-garde cutting on the big screen.