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Battles Without Honor and Humanity (仁義なき戦い) is a 1973 Japanese yakuza film directed by Kinji Fukasaku. The screenplay by Kazuo Kasahara adapts a series of newspaper articles by journalist Kōichi Iiboshi, that were rewrites of a manuscript originally written by real life yakuza Kōzō Minō. It is the first film in a five part series that Fukasaku made in a span of just two years. The violent, documentary like film chronicles the underworld tribulations of Shozo Hirono (Bunta Sugawara), a young ex soldier and street thug turned yakuza in post war Hiroshima Prefecture. Starting in the open air black markets of bombed out Hiroshima in 1946, the film spans a period of more than ten years. The plot consists of a changing of the guard of new families and organizations with the same feuds and people, punctuated by the gritty violence. Battles Without Honor and Humanity won the 1974 Kinema Junpo Awards for Best Film, Best Actor (Bunta Sugawara) and Best Screenplay (Kazuo Kasahara). In 2009, the magazine named it fifth on a list of the Top 10 Japanese Films of All Time. Due to the series' commercial and critical popularity it was followed by another three part series, New Battles Without Honor and Humanity. The film is often called the "Japanese Godfather" and marks a departure from traditional yakuza movies which had, for the most part, been tales of chivalry set in pre war Japan. The overall tone of the series is bleak, violent and chaotic, expressing the futility of the struggles between yakuza families. In the western market it is also known under the titles Tarnished Code of Yakuza (Australia), War Without a Code, and The Yakuza Papers.

In 1946 Kure, war veteran Shozo Hirono is sent to prison after shooting a sword wielding yakuza who assaulted his friend. He befriends and becomes sworn brothers with another prisoner, Doi Family member Hiroshi Wakasugi, who arranges for Yoshio Yamamori, Patriarch of the Yamamori Family, to bribe the prison warden and get him released. Hirono and his gang of fellow ex soldiers Tetsuya Sakai, Seiichi Kanbara, Uichi Shinkai, Masakichi Makihara, and Shuji Yano then join the Yamamori Family by swearing loyalty to the boss and to each other. Wakasugi's boss, Patriarch Doi, serves as an official witness to the ceremony, along with Kenichi Okubo, Patriarch of the powerful Okubo Family. Three years later, in 1949, Hirono gets into a fight with a man named Toru Ueda at a gambling den. Since Ueda is a blood relative of Okubo's, Hirono commits yubitsume in apology to Okubo. Okubo accepts, but asks Yamamori to take Ueda into his family and perform a favor for corrupt politician Shigeto Nakahara by eliminating a vote for his rival Shoichi Kanamaru, who is supported by the Doi Family in a political dispute over allotment of public resources. Sakai kidnaps one of Kanamaru's allies before the vote, allowing Nakahara's side to win, and goes into hiding afterwards. Doi finds out due to Kanbara bragging about it while drinking and beats him severely, then goes after Yamamori. However, out of loyalty to Hirono, Wakasugi stops Doi from killing Yamamori and a deal is brokered: Wakasugi will become a guest member of the Yamamori Family while Kanbara takes his place in the Doi Family. Six months later, Doi starts moving against Yamamori and prepares to form an alliance with the Kaito Family from Hiroshima City. With the other members unwilling to act and Wakasugi forbidden by yakuza traditions to betray his boss, Hirono volunteers to handle the matter after Yamamori agrees to promote him. Hirono successfully assassinates Doi while he's coming out of a meeting with the Kaito Family and escapes. While in hiding, Hirono is visited by Kanbara, who claims Yamamori has a plan to sneak him out of the city. However, it turns out to be a set up and Hirono, finding himself abandoned by Yamamori and hunted by the Doi Family, turns himself in for murdering Doi. Wakasugi murders Kanbara in revenge, but an anonymous tip to the police (provided by Yamamori) leads them to his girlfriend's house and he is killed trying to escape. With the Korean War raging in the 1950s, the Yamamori Family thrives thanks to war contracts and expands in the immediate years, but internal strife begins when members start dealing philopon due to the high kickbacks the boss takes off their earnings. Sakai and Shinkai, who are now high ranking officers in the family, feud when Shinkai's subordinate, Toshio Arita, deals against Yamamori's orders. Sakai, agreeing with Shinkai that the boss's take is too high, offers a plan to have each family member become self sustaining and limit the kickbacks, which only Shinkai and Yano vote against. Shinkai begins plotting with the surviving Doi Family members to kill Sakai. When it's revealed that Yamamori is selling the drugs he confiscates from the other members for personal profit, Sakai and Ueda threaten him and reveal their intention to take over the family. Yamamori has Arita kill Ueda in a barbershop and war breaks out between the two sides. The conflict ends quickly: Shinkai's men and the Doi Family members are murdered by Sakai's associates, Arita shoots a police officer who tries to arrest him and gets a life sentence, and Shinkai is stabbed to death before he can board a train to escape the city. Hirono is then paroled due to a commutation of sentence and learns about the strife in the Yamamori Family. When Yamamori asks him to kill Sakai, he instead asks Sakai to make peace with Yamamori. Instead, Sakai forces Yamamori to retire, crowns himself the family's new patriarch, forms an investment company with Yamamori's money, and starts negotiating with the Kaito Family. When Makihara informs Sakai that Yano is making a secret trip to persuade the Kaito Family to end the negotiations, Sakai has him gunned down when he arrives. Makihara then contacts Hirono to join him on the supposedly retired Yamamori's side; however, Hirono refuses and instead announces he is breaking off his pledge to Yamamori and leaving his family. He goes to see Sakai and the two men vow to kill each other. Sakai allows Hirono to leave peacefully, but is then murdered by Makihara's hitmen. At Sakai's funeral, which has Makihara and Yamamori in attendance, Hirono arrives with a gun, shoots up the funeral display, and threatens Yamamori before leaving.

Battles Without Honor and Humanity adapts a series of articles by journalist Kōichi Iiboshi that ran in Weekly Sankei (週刊サンケイ), that were rewrites of a manuscript originally written by real life yakuza Kōzō Minō while he was incarcerated in Abashiri Prison. The memoirs detail a yakuza conflict in Hiroshima. Lead actor Bunta Sugawara claims that he had the initial idea to adapt the memoirs to film. He said that six months before the movie was released, he was on the cover of Shukan Sunday with Tatsuo Umemiya and read this issue that also contained the first installment of the series while on the Shinkansen. Upon arriving in Kyoto he gave it to Toei producer Koji Shundo and told him to read it. Days later, after Shundo still had not done so, Sugawara bought another copy and insisted again. The actor asked Shundo to cast him in an adaptation, with Goro Kusakabe producing and Kinji Fukasaku directing.

Kazuo Kasahara received the order for the screenplay on September 1, 1972. He revealed that while Toei had gotten the rights to adapt the series from Iiboshi and Weekly Sankei, it seemed they had not bothered to ask Minō. Because the journals were written objectively and therefore easy to read, Kasahara had to flesh them out with details to make it dramatic. Despite Toei advising against it, Kasahara went to Kure with producer Goro Kusakabe on September 29 to meet Minō. However, after learning that Minō and Kasahara both served at the Otake naval officer school in Hiroshima, Minō agreed to help clarify details about the journals but still did not approve a film adaptation. Filming began in November 1972. Set in post war Japan, Fukasaku drew on his experiences as a child during World War II for Battles Without Honor and Humanity. At fifteen he worked with other children in a munitions factory that was regularly bombed. The director recalled "even though we were friends working together, the only thing we would be thinking of was self preservation. We would try to get behind each other or beneath dead bodies to avoid the bombs I also had to clean up all the dead bodies I'm sure those experiences have influenced the way I look at violence." The film, noted for its "extreme violence," opens with Japanese soldiers, during America's occupation of their country, stealing food and murdering for a bowl of rice. Using hand held camera, zoom lenses and natural lighting to create a "gritty, chaotic look," the director showed his generation's struggle to survive in the post war chaos. The shaky camera technique has since become a trademark of the director. Toei producer Masao Sato remarked that unusually Fukasaku shot the film in Toei's Kyoto studio, despite being under contract to Toei Tokyo. Fukasaku's son Kenta said that his father's friend Sadao Nakajima arranged to have who he considered the best staff at Toei Kyoto work with Fukasaku, which greatly eased the transition. Yamane and Kenta Fukasaku both agreed that the series does not focus on specific lead actors, but is an ensemble piece with the supporting actors energizing it. The stars are narrative characters, with the low ranking yakuza that are endlessly killed off the real focus of the movies. Sugawara said that this was the first Toei, and even the first Japanese, film to not have the lead actors in every scene. All five films in the series were released on DVD in North America by Home Vision Entertainment in 2004, under the moniker The Yakuza Papers. A 6 disc DVD box set containing them all was also released. It includes a bonus disc containing interviews with director William Friedkin, discussing the influence of the films in America; subtitle translator Linda Hoaglund, discussing her work on the films; David Kaplan, Kenta Fukasaku, Kiyoshi Kurosawa, a Toei producer and a biographer among others. Arrow Films released a Blu ray and DVD box set, limited to 2,500 copies, of all five films in the UK on December 7, 2015, and in the US a day later. Special features include an interview with the series fight choreographer Ryuzo Ueno and the 1980 edited compilation of the first four films.

Battles Without Honor and Humanity earned its distributor $4.5 million at the box office, making it the eleventh highest grossing film of the year. On Kinema Junpos annual list of the best films for the year of 1973 as voted by critics, the first film placed second. In 2009, the magazine named it fifth on an aggregated list of the Top 10 Japanese Films of All Time as voted by over one hundred film critics and writers. Previous editions of the list had the series at number twenty two in 1995 and eighth in 1999, tied with Twenty Four Eyes. In 2011, Complex named it number one on their list of The 25 Best Yakuza Movies. The British Film Institute included Battles Without Honor and Humanity as the 1973 entry on their list of the best Japanese films of every year from 1925 to 2020. Jasper Sharp, writing for the BFI, listed it as one of 10 great Japanese gangster movies. The film is credited as one of the first modern yakuza films; prior, movies about yakuza were known as Ninkyō eiga, "chivalry films", and set in pre war Japan. Dennis Lim of The Village Voice writes "Fukasaku's yakuza flicks drain criminal netherworlds of romance, crush codes of honor underfoot, and nullify distinctions between good and evil." Film scholar Richard Torrance suggests that the film acts as a "microcosm of the broader society and international order of the post war period, in which violence lacks moral significance and exists without heroes." This new yakuza film genre became known as Jitsuroku eiga ("actual record film"), often depicting events based on true stories. Fukasaku biographer Sadao Yamane believes Battles Without Honor and Humanity was popular because of the time of its release; Japan's economic growth was at its peak and at the end of the 1960s the student uprisings took place. The young people had similar feelings to those of the post war society depicted in the films. Yamane also stated that for the rest of his career Fukasaku was approached many times by producers to create movies similar to Battles, but always turned them down wanting to move on to films he found interesting. American director William Friedkin stated that Fukasaku's trait of never redeeming bad characters and not catering to have the good guys win in the end was a "profound influence" on himself. He went on to claim that this is something one cannot do today in American films. A restored version of the film, from a 4K 35mm print original negative to 2K digital by Toei Labo Tech, was screened at the Cannes Classics section of the 2015 Cannes Film Festival.