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Cruel Gun Story 拳銃残酷物語

Cruel Gun Story (Review)

Cruel Gun Story

aka 拳銃残酷物語 aka Kenju Zankoku Monogatari
Cruel Gun Story 拳銃残酷物語
1964
Written by Haruhiko Oyabu
Screenplay by Hisataka Kai
Directed by Takumi Furukawa

Cruel Gun Story 拳銃残酷物語
Cruel Gun Story is a standout entry from the Nikkatsu Noir boxed set, possibly my favorite (with A Colt Is My Passport a close second) of the set, and maybe even one of the better Japanese noir flicks out there. A criminal is hired to lead a heist, but before you can say “setup”, there is an onion farm’s worth of layers of betrayals that spiral out of control into the inevitable conclusion. Part of the drama is not if certain characters will betray everyone, but just when and how they will do so. The mix of everyone looking out for themselves while things keep hitting the worst of all possible universes for outcomes suggests the cruel object isn’t the gun, but life itself for those who choose to live by it and anyone caught in the crossfire.

Joji Togawa is fresh out of the joint, but before he even has a chance to breathe, he’s being scoped out by a yakuza boss to run and armored car heist. Togawa is what he is, and ends up agreeing, though he’s big on saying how this is his one last job. So we know things aren’t going to end well. Togawa meets his team with his old friend, Shirai (Yuji Odaka), it includes Okada (Shobun Inoue) – a former boxer, and Teramoto, a big mouth junkie (and whose girl, Keiko (Minako Kazuki), tags along). Another member is rejected immediately when it’s revealed he easily spills his guts when threatened.
Cruel Gun Story 拳銃残酷物語
The target is an armored car full of 127 million yen in racetrack money, and guarded by motorcycle cops. The plan to snag the car goes off with only a few minor hitches, but that’s when things hit the fan and fall apart at the same time. The team is betrayed from without and within, leading to the survivors behind holed up while a swarm of yakuza blast their guns at them. The scope of the crime is enough that the entire country is looking for them, and there is nowhere for Togawa to hide. Even attempts to fight against the yakuza hunting them ends worse than things were before. Yakuza Boss Matsumoto’s (Hiroshi Nihonyanagi) son is kidnapped, but the other yakuza care more about the money than the boss’s son’s life.

The only way out is to flee the country, Togawa calling in a favor of Takizawa (Tamio Kawaji), who loved Togawa’s sister before she was crippled in an accident (and still loves her). Togawa’s sister sits in a home for the disabled, and despite her pleas for her brother to be good, she knows he’s gone and done something bad again.
Cruel Gun Story 拳銃残酷物語

Take Aim At The Police Van その護送車を狙

Take Aim at the Police Van (Review)

Take Aim at the Police Van

aka その護送車を狙 aka Sono gososha o nerae: ‘Jusango taihisen’ yori
Take Aim At The Police Van その護送車を狙
1960
Screenplay by Shinichi Sekizawa
Based on a story by Kazou Shimada
Directed by Seijun Suzuki

Take Aim At The Police Van その護送車を狙
The Nikkatsu borderless action train continues, this time with a police guard looking to uncover the conspiracy to kill prisoners that he took the fall for. Take Aim at the Police Van gets attention as an early piece from Seijun Suzuki, before he got bored enough to try the widespread experimentalization of his flicks.

Michitaro Mizushima (Underworld Beauty) stars as Daijiro Tamon, the guard on a police prisoner transport van that is hit with gun fire and two prisoners are killed. Because someone must take the blame, Tamon is suspended for six months, which gives him plenty of time off to find out who shot at the van and why. Thus begins an investigation that will see Tamon sucked into the world of sex trafficking, hidden behind fronts of modeling agencies. This gives an excuse to have lots of attractive women running around, which gets even more glaring as most of the male characters range from seedy to extra seedy to so full of seeds they’re being sold at garden supply stores.
Take Aim At The Police Van その護送車を狙
Tamon distinguishes himself as a guard because he treats the prisoners fairly, this gives him enough of a reputation that he gets more doors opened to him when he starts hunting for clues. It also seems to say something about the Japanese prison system if just treating someone like a human being is commendable behavior. Not that we have problems like that in modern day America…

The prisoners that were killed don’t seem to be connected at all, but the more Tamon digs, the more he finds connections to something bigger. A missing sister to one of the prisoners who was working as a dancer is connected to another dancer that was watching the police van just before it was fired upon. The dancer, Tsunako Ando (Mari Shiraki), is dating another prisoner from the van, Goro Kashima (Shoichi Ozawa), who has a mysterious new job that he promises will earn a lot of money. And everyone seems connected to the Hamaju Talent Agency run by Yuko Hamashima (Misako Watanabe), who took over when her father Jube (Shinsuke Ashida) fell ill. But a rival firm has popped up and they are poaching each others’ talent.
Take Aim At The Police Van その護送車を狙