The cinematography is crisp black and white and flawlessly composed. So far we have Japanese gangs fused with Hollywood noir and a touch of Euro arthouse,but Nomura's not done there. Fortunately, the Udine audience turned out in large numbers for most of the Nikkatsu pics -- a testimony to their enduring entertainment value. The hunt is on and the hitman and his assistant are left largely to their own devices to free themselves from a perilous situation. As heard here, that impact managed to seep into the artistic bones of Japanese cinema, producing something distinctive on its own rather than functioning as a simple imitation.
Throughout the 1960s Japanese film studio Nikkatsu turned out a huge number of films that they brand Nikkatsu Action, films that took the action genres of the west as their starting point. Wiping fingerprints, picking up the spent shells. At least among English-speaking audiences, A Colt Is My Passport is easily the most widely seen directorial effort from Takashi Nomura, a prolific actor and filmmaker who started appearing in front of the camera in the mid-1950s under the name Takashi Sudô, with roles in such films as Imamura's Pigs and Battleships 1961. Even worse for Kamimura and Shun, their boss, Senzaki, has made peace with Shimazu's son and successor. Kamimura says it's a landfill, but it could just as easily be the plains of an American desert. A Colt is My Passport is an intersection of the honorable gangsters of the past and the modern gangsters who put money and business before loyalty. There's something in how the movie remembers the smallest things.
A complicare ulteriormente le cose ci si mette anche la stessa banda Otawara, che pare disposta ad abbandonare Shuji e il compagno al loro destino. Adding greatly to the film's unusual texture is its swaggering, sometimes jazz-inflected music score by Harumi Ibe, another Suzuki veteran since the early days of Teenage Yakuza 1962. Yakuza films were very popular in Japan in the 1960s. The gang that hired him is angry about where he did the job and the rival gang - thirsty for revenge - trace the job back to him. One gem from this era, A Colt Is My Passport 1967 , an adaptation of a novel by crime writer Shinji Fujiwara and also the source for such films as Shôhei Imamura's Intentions of Murder 1964 and Kinji Fukasaku's delirious Blackmail Is My Life 1968. He then goes to the open field and digs what looks like a grave.
I think if it had more action and less drama I may have enjoyed it far more than I did! Seijun Suzuki regular Jo Shishido stars as a freelance hitman hired by a local gang to take down a rival gang boss sometime within the next twenty four hours. No joke, a good chunk of the shots in this movie are serious candidates for some of my favorite shots of all time. These films were simply never seen until Japan Times writer Mark Schilling put together a major retrospective of them for the U? In that, Takashi Nomura is fantastically successful, creating one of the best Japanese crime pictures of the 1960s. They also like to show technical details: the mechanics of putting together a gun or other weapons, or the tricks the guys pull to get out of a jam. When she meets Kamimura on the boat she is so desperate to escape that she tells him that Shun will be right along. The bomb detonates and kills everyone in the car.
The story itself is pretty standard with hitmen for the mob being set-up and double-crossed. I have to admit the ending was everything I could ever hope for in this type of film! Kamimura and Shiozaki end up hiding out at a hotel picked for them by the boss who hired them, Tsugawa Asao Uchida. He then proceeds to build a bomb, with a detonator he rigs up on his wrist—and a magnet on the bomb. But the only way to ensure Shun Shiozaki and Mina are safe involves directly confronting the many people wanting them all dead. The crowning acheivement, and the touch that really makes the film sing, is the inclusion of a heavy spaghetti western influence.
Japanese noir was all the rage in the late 1950s and throughout the '60s, with cool guys in sunglasses brandishing guns and getting into trouble all over Tokyo and other major cities. There's just the singing of birds before the kill. The series finally took its first Canadian bow last night with the premiere screening of Takashi Nomura's A Colt Is My Passport and what a treat it was. The country's use of widescreen black-and-white imagery is comparable to no other, with a reliance on dynamic compositions, unusual angles and peculiar elements fluttering into frame, expertly handled in this case by cinematographer Shigeyoshi Mine. Young Shimazu demands only one thing: the lives of the men who killed his father. The two men had already acted together in a slew of Seijun Suzuki films like Branded to Kill, Gate of Flesh 1964 , Youth of the Beast 1963 , The Boy Who Came Back 1958 and Detective Bureau 2-3: Go to Hell Bastards! Like most great Japanese noirs, especially those from Nikkatsu, this one was shot in striking monochrome as well as the studio's Nikkatsuscope process.
Things go downhill after they complete the mission, getting captured, escaping, and becoming holed up in a hotel while their employer is incentivized to betray them. I know my rating will increase whenever I watch it so I'm leaving some room. So kudos go to festivals such as Fantasia and Udine which always include a major retrospective as part of their lineup and kudos again to the Fantasia audience who came out in force, selling out the festival's first screening of Nikkatsu Action classic A Colt Is My Passport. Shimazu's goons soon figure this out as well. There is only getting the job done. In addition to writing here, Jamie has reviewed movies for and.
A maestro at using light and shadow for psychological effect, he burst to prominence with Kô Nakahira's Crazed Fruit 1956 and excelled in numerous Suzuki projects including Take Aim at the Police Van 1960. One ingenious getaway later, and the two guys are hiding out by the wharfs, missing one departing ship after another, their freedom receding over the horizon. While in hiding, hotel worker Mina Chitose Kobayashi falls for Shuji and dreams of escaping her trapped existence with him, but can they make it out as the jaws of their pursuers closes in? Chitose Kobayashi, who plays Mina, the ostensible love interest, at one point comments that she wishes she could have the same friendship with a man as they have with each other. As the Shimazu gang is bearing down on him in an armored car, Kamimura dives into his hole at the last second, and flings the bomb up, the magnet fastening it to the underside of the car. So a few emptry seats at the retro screenings aren't going to kill us. Kamimura and Shun zip over to the airport, intending to board a flight for France.