Un estadounidense regresa a Tokio para intentar retomar los hilos de su vida anterior a la Segunda Guerra Mundial, pero se encuentra atrapado entre los criminales y las autoridades.Un estadounidense regresa a Tokio para intentar retomar los hilos de su vida anterior a la Segunda Guerra Mundial, pero se encuentra atrapado entre los criminales y las autoridades.Un estadounidense regresa a Tokio para intentar retomar los hilos de su vida anterior a la Segunda Guerra Mundial, pero se encuentra atrapado entre los criminales y las autoridades.
- Dirección
- Guionistas
- Elenco
- Photo Sergeant
- (sin créditos)
- Provost Marshal Major
- (sin créditos)
- Capt. Winnow
- (sin créditos)
- Fingerprint Sergeant
- (sin créditos)
- Military Police Captain
- (sin créditos)
- Officer
- (sin créditos)
- Man
- (sin créditos)
Opiniones destacadas
People often seem to over look the unique virtues of this film as an interesting film in history. Coming so shortly on the heels of World War 2 one would expect to find a certain amount of racism towards the Japanese and yet (unlike slightly later films like Sayonara) it is almost devoid of any remarks of that kind.
Humphrey Bogart is a superb actor as always as is the rest of the cast. The plot is well written and the direction style suited well to the film. Over all I highly recommend that anyone who wants a sharp and fun movie check this one out just don't expect it to be the classic that "Treasure of the Sierra Madre" or that one of the many other "classic" films he made was. It is nonetheless worth watching and, to my mind at least, quite a bit better than the cookie cutter system they use for suspense films now.
On the other hand, Florence Marly is pretty weak as the love interest and the plot is somewhat routine. The main plot problem is the Bogart/Marly relationship. There is just too much resemblance to the relationship between Rick and Ilsa in "Casablanca." When you add in Marly's unconvincing performance, the chances of a having a first-rate film are slim. I must also add, reluctantly, that Bogie seems to be walking through this role, much as he did in another Santana film, "Sirocco" (1951).
That brings me to my final point. Bogart had started Santana Productions in about 1948. "Knock On Any Door" was the company's first effort, and it was somewhat popular at the time. "Tokyo Joe" was the second Santana production. As a small start-up independent production company, Santana did not have a stable of outstanding actors to call upon. Perhaps that is why they had to make due with a Florence Marly instead of a top female lead to go opposite Bogart.
It's also true that "Chain Lightning," 1950, Bogie's next to last Warner Bros. release, wasn't so hot. Maybe the era of the tough but decent Bogart character had simply run its course.
I might add here that the third Santana production was "In a Lonely Place," 1950, one of Humphrey Bogart's best, though perhaps most under-appreciated, films.
Give "Tokyo Joe" a try. It's no world beater, but I have watched it several times, and still find it entertaining.
Bogart plays Joe Barrett, who returns to Japan after the war to start a business. While there, he discovers that his wife Trina (Florence Marly) is still alive. However, when he finds her, he discovers that she has divorced him and remarried a man named Mark Landis (Alexander Knox). Joe is determined to get her back and needs to extend his visa; he is approached by Baron Kimura (Sessue Hayakawa) who wants him to front an airline freight company for him. He would be importing frozen frogs. However, there is some additional freight, and for that, Kimura blackmails Joe by telling him what Trina was involved in during the war, which he will make public if Joe doesn't work with him.
This film bears a passing resemblance to Casablanca, and Bogart is clearly going through a transition which would lead to some of his greatest films and performances in the '50s. Rick of Casablanca is clearly pretty tired out. Being a small company, Santana Productions did not make big films or hire actors equal to Bogart, so the effect here is mediocre.
Florence Marly as Trina is a disaster - cold, very haughty looking, without much acting ability. It's impossible to see why Joe fell for her in the first place. She is no Ilse Lund, and she has no chemistry with Bogart. Her intentions are very unclear as well - as an actress, it doesn't look like she made any decisions about the character. Alexander Knox and Sessue Hayakawa are very good. Bogart, for my money, is always terrific.
Definitely worth seeing for the Japanese location and for Bogart. It's not horrendous, but considering that Bogart starred in so many classic films, it's not that good.
Tokyo Joe was made not long after Bogey had left Warner Brothers and it has more than a whiff of a "message picture" that strikes to find some meaning in postwar Tokyo. But like "House Of Bamboo" this film works not only as melodrama but as historical artifact of a period that is now forgotten. We don't think of the Japanese as a defeated power. Ever since the Honda Accord and the Toyota Camry started blowing away American competition we have thought of the Japanese as a superpower economically, not as a crippled defeated country. This film captures a mood that is rarely expressed in movies and it captures it with rather high production values. The rest of the cast isn't much but they play it straight and thus Tokyo Joe stands up even better after the initial viewing. The DVD transfer is very good and it remains a worthy addition to the Bogart canon.
In the ensuing complications, Bogart is placed in a position where he must smuggle some Japanese war criminals back into Japan or his daughter will be killed
Bogart is much less convincing than in his "Across the Pacific" days, where he was also required to deal with villainous Japanese
For an actor who had belabored the point that he had been forced to do too many bad films because he had no control over the properties, it is disappointing to see him making extremely bad films now that he did have full control...
¿Sabías que…?
- TriviaThis was the first movie allowed to film in post-war Japan. However, it appears that any footage of Joe Barrett (Bogart's character) that appears on location in Tokyo was filmed with a body double. It's more than possible that Bogart filmed only in the U.S. and never went to Japan.
- ErroresObvious double for Humphrey Bogart in the fight scenes and the street scenes filmed in Japan.
- Citas
Joseph 'Joe' Barrett: Hey, whatever became of the rattrap hotel that used to be next door?
Ito: The B-29's converted it into a parking lot.
Joseph 'Joe' Barrett: Well, it's lucky they stopped when they did, or all Tokyo'd be a parking lot. Next time it'll be the whole world and nothing left to park
Ito: Come upstairs, Joe. They don't understand a word of English - unless they listen.
- ConexionesEdited into Esto es todo (2009)
- Bandas sonorasThese Foolish Things (Remind Me of You)
(uncredited)
Music by Jack Strachey
Lyrics by Eric Maschwitz (as Holt Marvell) and Harry Link
Sung on a record several times
Sung by Florence Marly at the Tokyo Joe cabaret in flashback
Reprised by an unidentified female at the Tokyo Joe cabaret
Variations in the score throughout the film
Selecciones populares
- How long is Tokyo Joe?Con tecnología de Alexa
Detalles
Taquilla
- Total a nivel mundial
- USD 207
- Tiempo de ejecución1 hora 28 minutos
- Color
- Relación de aspecto
- 1.37 : 1