Here we are...at last

In the summer of 2003, a new movie re-wrote Japanese box office history. It was "Bayside Shakedown 2 - Close the Rainbow Bridge!". Bringing in 12.6 million viewers and earning over 17 billion yen, it broke the preexisting records that had stood for 20 years. Even today, it stands at no. 2 in the rankings beating its nearest competitor by a healthy 5 billion ensuring the continuation of its near-legendary status.

The "Bayside Boom" began back in 1997 when Fuji TV debuted their new year TV crime series. With its excellent writing and a fresh approach to the cop show genre, it proved very popular with TV fans and broke viewership records. 3 follow-up TV one-offs kept the flames alive and then plans were enacted for a movie adaptation. 1998's "Bayside Shakedown - The Movie" was seen in theaters by 7 million people and pulled in over 10 billion yen in revenue earning it a 3rd place in the then-current box office history. That was the background to the extraordinary success of 2003's film and its box-office blitz.

Such was the pressure from fans for a sequel that two ancillary titles, "Negotiator " and "Suspect" were made in 2005 which established the spin-off genre in Japan.

In 2010, after 7 year's absence, the team reformed for "Bayside Shakedown 3 - Set the Guys Loose!" which made over 7 billion at the box office and was seen by nearly 6 million people. It was the best performing film of that year and proved that the Bayside Boom was still alive in the public's hearts.

And it is against this backdrop of massive popular support that 15 year's of entertainment history comes to an end in this swan song, "Bayside Shakedown - The Final"

Our hero, Aoshima(Yuji Oda), as devoted as ever to police field-work, has been promoted to section chief. His peer in the Metropolitan Police HQ, Muroi(Toshiro Yanagiba), continues to climb the political ladder while his partner, Sumire(Eri Fukatsu) has made a momentous decision without a word to a soul. Their friend, Mashita(Yusuke Santamaria) now runs the Bayside Precinct while the former Chief (Soichiro Kitamura) and his two accomplices(Akira Saito, Takehiko Ono) also make an appearance. Koike(Kotaro Koizumi) plays a key role in his new posting as Section Chief of the Hostage Negotiations crew.

All the familiar characters are here with their 15 year's of experience reflected in their various stations. Some new people introduced in the last film are also on board in newly-developed roles. Torigai(Shun Oguri) is at the heart of the Investigative Unit, the young Waku-san(Atsushi Ito) is here as Aoshima's popular side-kick. Natsumi(Yuki Uchida) from the TV specials is also part of Aoshima's crime team. Also making a reappearance are the characters of Okita(Miki Maya) and Shinjo(Toshio Kakei).

In a final casting coup, playing the role of Kuze, the bad guy who holds the key to the entire mystery, is household name, Shingo Katori from the super-group SMAP.

They pulled out all the stops to ensure this final outing in the Bayside world is going to be the most entertaining yet as we follow the team as they face their final challenge.

Brought to you by producers Chihiro Kameyama and Ryoichi Kimizuka, director Katsuyuki Motohiro and their team of 15 years who have spared nothing to make this last dance one to remember.

You're needed as a witness...so get to a theater now!


In his final investigation, Aoshima is going to find himself facing off against a man with by a sense of justice driven by evil.

With the opening of the International Energy Summit in their jurisdiction, the Bayside precinct is rushed off its feet. Amid all this, an abduction takes place in front of the crowded venue. Several hours later, the victim is found dead from a gunshot. The murder weapon however, was a gun supposed to be under police lock and key.

When the emergency investigation briefing begins, the local precinct team learns that all information will be controlled by Commander Torigai of the Metropolitan Police HQ and they are going to be shut out. All leads are to be submitted in writing and no ballistic report is forthcoming. It's an unprecedented lock down on information.

Then comes the second murder.

As the investigation proceeds, Aoshima's professionalism comes under suspicion and an official call for his resignation results. Amid the upper ranks, his mentor Muroi is at the receiving end of a major shift in the political currents and is threatened with dismissal.

Even so, the two of them and their respective teams persevere at the investigation.

Until, as if to mock their efforts, a third incident occurs. The Precinct Chief Mashita's son is kidnapped!

With his status as an officer under threat and beset by suspicions, Aoshima struggles on in pursuit of the truth. It's his hardest task yet and although he doesn't know it, his last...



One of the key draws for the many fans is the way that the authenticity of the police world is blended with the playfulness at the heart of the film. In this case, the authenticity is immediately supplied by the set.

On one floor the producer's created an entire police precinct. In the central section there were the departments of Administration, Community Safety, Public Affairs and the Detective's Section. This was surrounded by 5 Investigation Rooms, A PC Room, Break Room, Smoking Room and then across a corridor, the Traffic Control section. Further on there was an elevator hall, large staircase, meeting area and a number of small meeting rooms. With various doors closed, the filmable area gave 360 degree coverage whilst most walls were removable and interior glass panels were designed to swivel to cut down reflections. With the perfect authenticity of a real location yet the matchless flexibility of a set, it was a staggering achievement of production design.

Similar attention was paid to the set decoration and prop work. In acknowledgement of the Fukushima disaster, there were posters urging the saving of electricity, donation boxes and even the charity donation facility built into the electric vending machines. Since it was to have been only two years since the entire precinct moved, there was also the touch of having the unique "Frog Express" brand of moving company box and tape scattered around in certain corners.

Nowhere was the dedication to exacting standards more prevalent than in the desk of each character. The art department tailored the props to each character's foibles and style. Every desk was filled with a selection of choice items reflecting the owner's journey and development in the story. Whilst it is true that a majority of this doesn't make it onto the screen, there can be little doubt that it was a solid support for the actors in creating their realities for the audience.


If there's one thing about the character of Aoshima, it's that he is often running. Even with the threat of a forced resignation looming, he continues to pursue the investigation. Without relying on a patrol car or walkie-talkie, he hops on a bicycle and heads off while staying in contact with Muroi by cell phone. At the end, he has no option but take to his feet and so run he does. Including the opening sequence shots, there were a total of 7 days of filming in 7 different locations that involved him running. Most of these were at night in the bitter cold but through perseverance and professionalism, the sheer guts and dedication of Aoshima was committed to film.


One of the motifs in this series of films is the bond between Aoshima and Muroi. How to bring this into play in the final movie was a key question for the producers as they developed the story. The decision was made to include several references to the 15 year history of this bond in a kind of homage running through the film. This then plays into the final scene which leaves the fans with a final present in the way it salutes this bond and points to its continuation into the future.


Wednesday, April 18th, 2012. Aoshima and Sumire finish with their scene on the roof of the precinct. Their superb performances in this scene will ensure it lives on in minds of the Bayside fans. Yet such was the harmony with which they work, it only took 3 hours to complete. Upon wrap, the AD's had a performance of their own in store and after announcing the retirement of these two characters, each crew member presented the cast with a rose in celebration. The two actors took the time to shake hands and have a few words with each member of the crew. Mr. Oda made a speech which included the words, "When I began shooting the TV show 15 years ago, I never imagined it would end up like this. It was a fantastic experience in which all cast and crew shared ideas and contributed to it becoming this huge. The Bayside series may wind down but let's get together again and make something even better!"

After the long shared journey of 15 years, it was a thoughtful moment as the cast and crew came together with a sense of new hope for the future. After a little extra filming, two days later, on Friday, April 20th at the Toho stage, filming was finally brought to a close on both projects and the Bayside legend came to an end.




Yuji Oda
Eri Fukatsu
Yusuke Santamaria
Toshiro Yanagiba
Atsushi Ito
Yuki Uchida
Kotaro Koizumi
Soichiro Kitamura
Takehiko Ono
Akira Saito
Kenta Satoi
Miki Maya
Toshio Kakei
Shun Oguri
Shingo Katori


Executive Producer: Chihiro Kameyama, Yoshio Nagata
Screenwriter: Ryoichi Kimizuka
Director: Katsuyuki Motohiro
Music for series: Akihiko Matsumoto
Music: Yugo Kanno
Theme Song: "Love Somebody CINEMA VERSION IV" sung by Yuji Oda
Producers: Tsuguaki Tatematsu, Juichi Uehara Chikahiro Ando, Koichi Murakami
Associate Producer: Ichiro Takai

Line Producer: Kyohei Sudate
Cinematography: Kazunari Kawagoe
Lighting Director: Hiroyuki Kase
Art Director: Masanori Umeda
Production Designer: Yoji Abeki
Art Production: Kensuke Okura
Sound: Akihiko Kaku
Editor: Takuya Taguchi
VFX Supervisor: Norio Ishii
Music Supervisor: Yoshitaka Fujimura
Produced by: Fuji Television, I.N.P.
Production: Robot Inc. supported by NOTTV
Distribution: Toho Co. Ltd.

Film length: 2 hours 6 minutes
Cinemascope size / Dolby Digital