This 1997 release from acclaimed Japanese filmmaker Rokuro Mochizuki (“A Yakuza in Love”) is a meditative, deliberate study of a broken man seeking peace. Very much like his previous film “Another Lonely Hitman” in both plot and execution, Mochizuki continues his existential journey down “Yakuza Road.” After 27 years in Osaka prison, Kunihiro, an ex-Yakuza hitman, is released and is content living a quiet, uncomplicated existence. He is soon sought out by his old friend Tanigawa (Sho Aikawa) who now works for a rival gang. Tanigawa offers Kuni a job within the Yakuza, but is met with indifference from his old friend. Working at a construction site and living with fellow ex-con Sakata, Kuni attempts to function within a modest yet stable lifestyle.

Persistent in his requests, Tanigawa eventually convinces Kuni to accept a job as a chauffer for his Yakuza boss. The ex-hit man soon proves himself a valuable asset when he is asked to help out with a business deal gone awry. That evening during a small celebration at a brothel, Kuni falls for beautiful young piano player Asako (the haunting Reiko Kataoka). After spending a platonic night in bed with each other, the timid woman approaches him about acquiring a gun. She tells him that she is seeking retribution from a man who wronged her sister. A gun is secured and the two of them kidnap the man at gunpoint who, as it turns out, happens to be related to a member of an opposing Yakuza. Neither Asako or Kuni can find it within themselves to shoot the man and end up torching his car (and several boxes of lurid photographs) instead. In sparing his life the two of them reach an unspoken understanding; leading to a physical (and metaphorical) bonding. However Kuni’s compassionate act soon comes back to haunt him when the opposing Yakuza take out revenge by killing Sakata. It isn’t long before Kuni decides to let the “fire within” consume him and he sets out for some revenge of his own.

Even more contemplative than “Hitman,” “The Fire Within” is a solid, character-driven study of a broken middle-aged “warrior.” Its melancholy view of the world where redemption is illusion and fate is tactile permeates every frame. Harada brings great depth to Kuni, a man of few words who has learned from his past mistakes yet seems destined to repeat them. A staple of Japanese cinema for over thirty years, Harada has a quiet dignity that is earned only through experience. Kataoka also proves quite good in a role that is more symbolic than actual flesh and blood. The two actors work exceptionally well together; their subtle, easy chemistry giving the drama an unexpected nuance.

Mochizuki (and cinematographer Naoaki Imaizumi) allow their main characters to dictate the pacing of the action; deliberate, pensive. Though the viewing copy was technically rough, Imaizumi’s beautiful composition transcended the fuzzy imagery. Juxtaposing sweeping vistas in long shot with introspective character close-ups, “Fire Within” has a spiritual resonance not often found in the typical Yakuza thriller. As stated in the previous review for Mochizuki’s similar “Hitman,” this is far removed from the uber-violent revenge thrillers by Takashi Miike. Fans of Miike’s and his peers in cinematic crime might want to look elsewhere for their revenge fix. “Onibi: The Fire Within” is an intelligent, visually captivating meditation on regret and the illusion of redemption.

Editor's Note - Bradley's review comes from an early screener that does not represent the final product DVD. For his review, Bradly covered only the film itself. Look for a more comprehensive review of the DVD upon its release, which is yet to be determined.