The double dilemma, a false disjunctive syllogism in reality, of resisting as a spectator in the face of the inevitable tide of clichés, in the same feverishness with which they are reluctant—and let’s say they also resist dying—the businessmen who are dealt a playing card when they are handed over as corpses with the ace or the 3 of spades, anyway. Carried away by the delight of the photography, which, without detracting from the mystery of the predictable plot, is the best thing about the film, we see Ueda, Omory and then Yasukawa die in the heights, after being hung in a vertical plunge like the hanged man’s card, falling freely until their brain matter is the last image we see.Why the connection and that order with the Kyoritsu Sangyo company? And how would the director know—unless he was in on it—that the crimes were due to an operation or business deal that went wrong exactly eight years ago?

The director cannot keep the secret or the mystery any longer and reveals that it is the son of a company executive who was treated terribly. Because it became known that he had committed suicide, we eventually learn that it is an inner drive for revenge that guides Katsumi Takenaka in his crusade against the traitors who destroyed his family. Katsumi is the living avenger who orchestrates the deaths, brother of Setsuko Takenaka and second son of Shozo Takenaka, the ruined businessman who openly competed with Joji Kidokoro’s firm and his allies.

The ultimate goal is to confront Kidokoro and the beautiful Yukiko, who is, incidentally, his ex-fiancée but now Kidokoro’s wife, and thus avenge his pain of betrayal and injustice against his family’s firm and against him.That is why I understand the metaphor of the ‘song’ in the film’s title, although I did not like the rhythm, except for the photography, as I already mentioned, because seven years in prison and seeing his family destroyed must have been more painful and compelling than a ‘giri’ to the yakuza.