I love the way that Kinji Fukasaku uses handheld. Lots of people do it his way nowadays (The Wrestler, Narc, The Bourne Series, etc.) but back then it was new. The only other filmmaker with a similar style was his American contemporary William Friedkin. It's not documentary and it's not French New Wave, it's something different. The camera is always in precisely the right place. It's never in danger of missing any crucial storytelling information. Yet, by virtue of the camera being handled, it's able to pull off all sorts of crazy shots to get an audience's adrenaline pumping. The camera swings wildly and can tilt or twirl at any moment. One could say that it's just as chaotic as the unpredictably violent world Fukasaku depicts in film after film. The perfect melding of style and substance.
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