Sho Aikawa would eventually become one of the kings of V-Cinema, alongside other cult figures such as Riki Takeuchi. His rise began in 1990 with “Neo Chinpira: Zoom Goes the Bullet,” a movie directed by Banmei Takahashi, whose pinku eiga background subtly informs the tone and presentation here.
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Junko is a low-level yakuza working under Yoshikawa, a man who is frequently mocked by Junko’s uncle, Junichi. Though Junichi considers his nephew a failure, he shows occasional signs of affection. Junko lives off the earnings of his girlfriend, a bar hostess, while his main goal in life seems to be projecting a cool image, an effort in which he consistently fails. One night, he meets Yumeko, a narcoleptic woman who is as beautiful as she is dangerous. The two soon begin living together in an abandoned house.
After a high-ranking member of their organization is assassinated by the Kazama Family, Junko and two others, including the physically imposing Kikuchi, are assigned to carry out retaliation. However, as his comrades start “zooming” (faking injuries to dodge responsibility), Junko is left to complete the mission alone. Torn between evasion and duty, he spends his time vacillating while also engaging in a series of passionate encounters with Yumeko.
Drawing from the central theme of “zooming,” Banmei Takahashi crafts a satirical take on yakuza behavior, highlighting their exaggerated efforts to avoid violence as a primary source of humor. Junko’s own failed attempts at looking cool, particularly when Yumeko steals his boss’s car he’s driving, add another layer of absurdity. The repeated and often misplaced use of a handgun reinforces the comedic tone, anchoring this entry in the crime comedy genre. Junichi, played by the effortlessly cool Jo Shishido, adds further levity with his irreverent treatment of Yoshikawa, notably in a scene where he urinates in a flower pot at the club Yoshikawa frequents.
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As is often the case in V-Cinema, police corruption makes an appearance, though it’s downplayed in favor of lighter, more entertaining elements. Violence is similarly subdued, especially in the latter half. However, the erotic content is pronounced, with Sho Aikawa and Chikako Aoyama (as Yumeko) engaging in a number of intimate scenes. These sequences range from humorous to overtly exploitative but are handled with flair. Cinematographer Kazuhiro Miyoshi adopts a playful visual style that enhances these moments while still managing to titillate, largely thanks to Aoyama’s on-screen presence.
The second half of the movie, which focuses on Junko’s indecision, loses some momentum, including the erotic department. However, the conclusion, elevated by an excellent musical track, brings satisfying closure, as Junko finally accomplishes the one thing he always wanted.
At 85 minutes, “Neo Chinpira: Zoom Goes the Bullet” doesn’t overstay its welcome. It’s an entertaining yakuza entry that blends comedy and eroticism, anchored by Aikawa’s charisma and Shishido’s presence. It is also worth noting that its overall aesthetics remind of the style Kitano later implemented in his own yakuza films.
