I Am Waiting

The earliest film in Eclipse's new Nikkatsu Noir set, this one stars Yujiro Ishihara and Mie Kitahara, the two stars of the previous year's Crazed Fruit (these are only two of about two dozen films they made together). I Am Waiting is a pretty good crime flick about a retired boxer who meets up with a lounge singer who is trying to run away from her gangster employer. The boxer has been waiting a year for his brother to contact him from Brazil, where he hopes to move and help his brother farm. Turns out that his brother never made it there. His mysterious disappearance is linked with the aforementioned gangsters. The story here is really good, and, in general, it's well directed and performed. It does move a tad too slowly, though, and the two halves of the plot, the romance and the mystery of the missing brother, are connected by a pretty big and hard-to-buy coincidence. It's a good film, but it's one that feels like it could have been done a little bit better (the perfect film for a remake!).

What a great Japanese from my box of World Noir No.1 from the splendid Radiance blu-ray company. Right from the start it is wonderful and we see a bar, cafe with neon and on the waterfront and a steam train carrying goods in front of us. Yujiro Ishihara one of the stars that I have never seen before is great and we see Mie Kitahara the lovely girl I have once seen her in Crazed Fruit (1956 ). Together we see them both wearing those noir macs. The dialogue is fine and just the style and hard as we like it, the cinematography is also just as we like it as the tropes and the cliche but some new and different. He used to be a boxer and can fight and she used to sing, 'I'm a canary that forgot to sing' but she does remember. And there are the thugs that make us smile but they can be tough and towards the end the dialogue changes and the fight ends in the jazz club. I know it was a bit silly now and again but I loved it.

This came in a boxset of Japanese crime-thrillers that I plan to work through over the next week or so, and as this was the earliest release of the five, I decided to start here.

It's very simple and tells a story about a young man and a young woman who both have connections to various shady characters that they both wish to escape from. Its unapologetically direct and for its time, it probably had a little more impact than it does now.

But it was still far from a bad watch, and it can be appreciated and enjoyed as a well-acted and well-directed film that serves as a decent crime movie for the time it was made. It's also nice to see something unpretentious and straightforward every once in a while, because you often can't make a movie nowadays unless it's got a bit more going on to complicate it.

A good movie with interesting characters and mood that sort of falls apart at the end when everything gets rushed to a conclusion. It's almost a classic, but just needed a bit more work to push it over the edge.

I Am Waiting (1957)

A Japanese kind of noir flavored crime drama that uses tropes and cliches to their max. And it works. There is the woeful beautiful woman and the troubled handsome man, and they meet in ways that make their relationship complicated. Some thugs get in the way, the past has its grim details resurface, and a couple of side characters give the main pair color and life.

It's kind of great in a B-movie way. The filming (camera and lights) by Kurataro Takamura is terrific, and helps hold it up even if the writing is sometimes a bit obvious. The acting is solid, maybe even very good, but the characters are made to play types that don't allow for as much development as you might like.

In all these ways the film is a lot like the average noir. But it doesn't hold a candle to a great American noir. The editing is sometimes awkward, the story a hair too simple (despite all the unnecessary flashbacks), the good and bad guys a bit too simple in their motivations. I think you can love this movie for exactly these things, but know it ahead of time.

Takamura is terrific, it has to be repeated. The long fight scene near the end, and the final long take before the credits, are both first rate stuff. This is director Koreyoshi Kurahara's first film, and if a novice feeling sometimes shows, the movie also reveals a bold talent and reckless love of cinema, which is really all that matters.