| Robert Mitchum | ... | Harry Kilmer | |
| Ken Takakura | ... | Tanaka Ken (as Takakura Ken) | |
| Brian Keith | ... | George Tanner | |
| Herb Edelman | ... | Wheat | |
| Richard Jordan | ... | Dusty | |
| Keiko Kishi | ... | Eiko (as Kishi Keiko) | |
| Eiji Okada | ... | Tono (as Okada Eiji) | |
| James Shigeta | ... | Goro | |
| Kyosuke Mashida | ... | Kato | |
| Christina Kokubo | ... | Hanako | |
| Eiji Go | ... | Spider (as Go Eiji) | |
| Lee Chirillo | ... | Louise | |
| M. Hisaka | ... | Boyfriend | |
| William Ross | ... | Tanner's Guard | |
| Akiyama | ... | Tono's Guard | |
| Harada | ... | Goro's Doorman |
Directed by | |||
| Sydney Pollack | |||
Writing credits | ||
| Paul Schrader | (screenplay) and | |
| Robert Towne | (screenplay) | |
| Leonard Schrader | (story) | |
Produced by | |||
| Michael Hamilburg | .... | co-producer | |
| Sydney Pollack | .... | producer | |
Original Music by | |||
| Dave Grusin | |||
Cinematography by | |||
| Kozo Okazaki | (director of photography) (as Okazaki Kozo) | ||
Film Editing by | |||
| Don Guidice | |||
| Thomas Stanford | |||
Production Design by | |||
| Stephen B. Grimes | (as Stephen Grimes) | ||
Art Direction by | |||
| Yoshiyuki Ishida | (as Ishida Yoshiyuki) | ||
Costume Design by | |||
| Dorothy Jeakins | |||
Makeup Department | |||
| Garry Morris | .... | makeup artist | |
Production Management | |||
| John R. Coonan | .... | production manager (as John Coonan) | |
| Isao Nagaoka | .... | unit production manager (as Nagaoka Isao) | |
| William Ross | .... | assistant production manager | |
| Yoshio Yamamoto | .... | unit production manager (as Yamamoto Yoshio) | |
Second Unit Director or Assistant Director | |||
| Mike Abe | .... | assistant director | |
| Stephen B. Grimes | .... | second unit director (as Stephen Grimes) | |
| Michael D. Moore | .... | assistant director (as Michael Moore) | |
Art Department | |||
| Toshio Miyagawa | .... | props (as Miyagawa Toshio) | |
| Seiji Moori | .... | tattoo artist (as Mohri Seiji) | |
Sound Department | |||
| Basil Fenton-Smith | .... | sound mixer (as Basil Fenton Smith) | |
| Arthur Piantadosi | .... | sound re-recording mixer | |
| Ed Scheid | .... | sound effects (as Edwin Scheid) | |
Special Effects by | |||
| Tomoo Kasai | .... | special effects (as Kasai Tomoo) | |
| Richard Parker | .... | special effects | |
Stunts | |||
| Bill Saito | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Bobby Byrne | .... | camera operator (as Robert Byrne) | |
| Duke Callaghan | .... | director of photography: american sequences | |
| Yoshiaki Masuda | .... | gaffer (as Masuda Yoshiaki) | |
| Tamio Matsuo | .... | assistant camera (as Matsuo Tamio) | |
| Haruhisa Murase | .... | grip (as Murase Haruhisa) | |
| Clifton Ralke | .... | assistant camera | |
Costume and Wardrobe Department | |||
| Mamoru Mori | .... | wardrobe (as Mori Mamoru) | |
Editorial Department | |||
| Carol Ann Jackson | .... | assistant editor | |
| Ralph Sandler | .... | assistant editor | |
| Fredric Steinkamp | .... | supervising editor | |
Music Department | |||
| Ted Whitfield | .... | music editor | |
Other crew | |||
| Kuroki Masami | .... | production personnel | |
| Phill Norman | .... | title designer | |
| Michie Ross | .... | production secretary | |
| Masao Sato | .... | assistant to executive producer (as Sato Masao) | |
| Gaylin P. Schultz | .... | production coordinator (as Gaylin Schultz) | |
| Takeshi Sugimoto | .... | production personnel (as Sugimoto Takeshi) | |
| Keiko Tsushima | .... | script girl (as Tsushima Keiko) | |
| Hope Williams | .... | script supervisor | |
| Seiji Yada | .... | production personnel (as Yada Seiji) | |
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I have to agree with the preponderance of viewers here who rate this as a neglected classic of the 70's. All aspects of the film - performances, script, and direction - raise this to the level of greatness. This is certainly among Mitchum's greatest performances - his subdued, world-weary toughness undergirds the movie. The story as has been noted, is a rich and multilayered one with a sadness that aspires to and quite nearly reaches the level of tragedy. It also must be noted that this is one of the most effective portrayals of Japanese culture on celluloid. The movie does not shrink from violence; the various scenes of assassination and slaughter could have been done by Peckinpah. The movie deserves a restoration and should be brought to tv in letterbox mode. (Are you listening, American Movie Classics?)